By Jane C. Lambert
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Additional resources for Five in a Row: Volume 1
I) It might seem from this that Shakespeare is here clearer about what our nature might be changed from than about what it might be changed to. He offers us a description of the first, but not apparently of the second: little more is said to spell out the latter. But then he manages one of his unsettling dramatic fusions, in which the interior logic of the poetic discourse, and the action of the play, are advanced at the same time. Lorenzo ends his speech, and bids Jessica ‘mark the music’, and as it plays Portia enters, with her waiting-woman, Nerissa.
I shall come back to this, in order to try to show that I am drawing on one of the founders of Christianity, St Paul, whose writing is so crucial for our understanding of the origins of the term ‘spiritual’. For the moment, though, allow me at least to suggest that some of the qualities we might originally think of as being ‘moral’ may attain the status of PHILOSOPHY AND SPIRITUALITY 25 ‘spiritual’ to the extent that compassion, say, or generosity, or the sense of justice, seems to refer not to a single moral possibility of action, but to a coiled set of possibilities, each one transcending the last in scope and concentration.
This could be replaced by ‘inspirational assemblies’, which probably already go on under the name of ‘collective worship’. My sense of the SCAA document, though, is that it attempts to present religion as a form of spirituality, so that it can also present ‘spiritual development’ in alternative, non-religious forms. The trouble is that it also wants to offer an account of ‘the spiritual’ independently of ‘the moral’. But it is not a straightforward matter to break the connection between religion and ‘spirituality’.