Shakespeare’s Globe Theatre: ‘Trans People Are Sacred. We Are the Divine.’

Shakespeare’s Globe Theatre: ‘Trans People Are Sacred. We Are the Divine.’


The Globe Theatre in London, a reconstruction of the Elizabethan playhouse where Shakespeare’s plays were first presented, on Wednesday tweeted and then hastily deleted, in the face of a barrage of derision and ridicule, a video clip from its current production of the trans propaganda play I, Joan, which gives us a counterfactual, transgender Joan of Arc: “Trans people are sacred. We are the divine.” This is off-the-charts narcissism, and it’s something more than that as well. Remember the words of the serpent to Eve in the Garden of Eden, as he tempted her to eat the fruit of the tree of the knowledge of good and evil? “You will be like God” (Genesis 3:5). And here we are.

The Globe deleted the tweet, but it did not delete a YouTube clip of the I, Joan prologue, also posted on Wednesday, from which the claim of divinity for trans people was taken. The play opens with actress Isobel Thom (who specifies her pronouns as “they/them” on her Twitter page; you can call her Legion, for they are many) saying: “Trans people are sacred. We are the divine. We are practicing our divinity by expressing authenticity. By enjoying our multiplicity. Elevating our humanity, finding the unity hidden inside community, remembering our collective connectivity fuels courageous creativity, unlocking the blessed spirituality that we all seek. Yeah, this s**t’s about to get spiritual.”

Well, yeah, it is. But not in a positive way. PJM’s Megan Fox has clued me in to the fact that Baphomet, a very common Satanic symbol, is both male and female. In the Judeo-Christian tradition, God is love, life, truth, and fruitfulness, and to oppose him is to choose hatred, death, lies, and destruction. There are numerous lies in the I, Joan prologue, notably the idea that trans people, whose bodies are mutilated and made into facsimiles of something they are not and never can be, are “expressing authenticity.” The bit about “elevating our humanity” once again recalls the hubris of Satan’s promise to Eve, “You will be like God.” And the “multiplicity” business suggests multiple personalities, which up until quite recently was considered a symptom of insanity.

Another falsehood is contained in Isobel Thom’s tweet that Joan of Arc “holds such a special significance to women / afab people in amongst [sic] many others. myself included.” “Afab” turns out to mean “assigned female/male at birth,” which apparently means that she is a woman who now suspects that she is a man, or a man who thinks he is a woman, and furthers the destructive lie that one’s gender is “assigned” at birth in some random and arbitrary process, rather than being blazingly obvious to anyone who isn’t blind.

The Globe, in presenting this pernicious nonsense, gives us one of those content warnings that have become dispiritingly common in this woke and hypersensitive age: “Content guidance: This production contains loud noises and music, strong language and swearing throughout, partial nudity, references to sexual abuse, misgendering, and depictions of war and violence.” Misgendering! Oh, the horror! Can you imagine the frisson of terror running through I, Joan’s target audience in the face of such an atrocity?

Another warning, however, comes from William Shakespeare himself, whose theater The Globe was supposed to be. His warning, however, is of a somewhat different kind. When Lady Macbeth is scheming to kill the Scottish king and install her husband in his place, she cries out: “Come, you spirits that tend on mortal thoughts, unsex me here, and fill me from the crown to the toe top-full of direst cruelty! Make thick my blood; stop up the access and passage to remorse, that no compunctious visitings of nature shake my fell purpose, nor keep peace between the effect and it!” “Unsex me here”: was Lady Macbeth expressing a longing to change genders? Only metaphorically, but she associated the discarding of her womanliness with an embrace of cruelty and a rejection of all compassion or remorse for her evil deeds.

This is hardly an inspiring advertisement for transgenderism, but Shakespeare lived in a simpler and saner age, when confused men and women could not go under the knife and render themselves lifetime serfs of the pharmaceutical industry in a vain attempt to realize their fantasies. Shakespeare is renowned for his insight into human nature, and he appears to realize in that passage from Macbeth that there was something profoundly unnatural and wrong about being “unsexed.” It was not a celebration of authenticity, or multiplicity, or anything other than a malignant and destructive rejection of life and of the creator of life.

With astonishing rapidity, Western civilization has gone from being avowedly and determinedly Christian to celebrating the rejection and inversion of everything that is good and wise in the Judeo-Christian tradition. “Joan’s story,” bubbles the Globe, is “alive, queer and full of hope.” Another lie. In its hubris and delusion, it’s actually a celebration of death and despair.

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