I found out many, many things about Joan of Arc – many things. And with stunning precision, which made it extremely interesting. I won't repeat them because I don't remember with exactness, and these things have no value unless they are exact. And then, for the Italian Renaissance: Leonardo da Vinci, Mona Lisa; and for the French Renaissance: François I, Marguerite de Valois,(1) and so forth.
Twice I knew that it wasn't just images but something that had happened to ME, but it took another form. Once (when I was older, around twenty) it happened at Versailles. I had been invited to dinner by a cousin who, with no warning, served me dry champagne during dinner – and I drank it unsuspectingly (I who never drank at all, neither wine nor liquor!)....When I had to get up and cross the crowded room, oh, how very difficult it became, so difficult! Then we went to a place near the chateau, with a view of the whole park. And I was staring at the park, when I saw ... I saw the park filling up with lights (the electric lights had vanished), with all kinds of lights, torches, lanterns ... and then crowds of people walking about ... in Louis XIV dress! I was staring at this with my eyes wide open, holding on to the balustrade to keep from falling down (I wasn't too sure of myself!). I was seeing it all, then I saw myself there, engrossed in conversation with some people (I don't remember now, but there were certain "corrections" here too).... I mean I was a certain person (I don't remember who) and there were those two brothers who were sculptors (Mother vainly tries to recollect the names (2)) ... anyhow, all kinds of people were there and I saw myself talking, chatting. And I seem to have been sufficiently in control of myself, because when I related all that I had seen, there were some quite interesting details and corrections. That was one time.
There was another time at Blois. They make Anjou wine at Blois. It was the same story: I never drank anything but water or herb tea, but there was a luncheon and they served us sparkling Anjou wine ... it seemed so light! Afterwards (I was with an artist friend, we were all artists) we went to see the museum, and it appears I was sparkling with wit! And I suddenly halted in front of a painting by ... now let's see, who was it? Coué?...No, Clouet! Clouet: the princess ... one of the princesses. (3) And I started making a few remarks out loud (it took me a little while to notice that people were listening). "Look at this!" I was saying. "Just look at this! Look what this fellow has done to me! See what he's done to me – it wasn't at all like that!" It was actually a beautiful painting, but I was quite unhappy about it: "Look what he's done to me! Look – he made this like that, but that's not at all how it was, it was LIKE THIS! " Details.... And then I became aware (I wasn't too conscious physically) ...I realized that people were standing around listening, so I got a grip on myself, and left without a word. But I told my friends, "Listen, it was definitely me! It was MY portrait, it was ME!
Almost all my memories of past lives came like that; the particular being reincarnated in me rises to the surface and begins acting as if it were all on its own! Once in Italy, when I was fifteen, it happened in an extraordinary way. But that time I did some research. I was in Venice with my mother and I researched in museums and archives, and I discovered my name, and the names of the other people involved. I had relived a scene in the Ducal Palace, but relived it in such a ... such an absolutely intense way (laughing – a scene where I was being strangled and thrown into a canal!) that my mother had to hurry me out of there as fast as she could!
But that experience I wrote down, so the exact memory has been kept (I didn't write down the other experiences, so the details have all faded away, but this one was noted, although I didn't include any names). The next morning I did some research and uncovered the whole story. I told it all to Théon and Madame Théon, and he also had the memory of a past life there, during the same period. And as a matter of fact, I had seen a portrait there that was the spitting image of Théon! The portrait of one of the doges. It was absolutely (it was a Titian) ... absolutely Théon! HIS portrait, you know, as if it had just been done. (4)
All those kinds of things came to me just like that, without my looking for them, wanting them, or understanding them, without doing any sort of discipline, nothing – it was absolutely spontaneous. And they just kept on coming and coming and coming.
From the time I met Théon, it all got clarified: I saw it all clearly, understood and organized it. But a good deal of it happened before – everything I have just told you happened before I met Théon.
Satprem: "One after the other, these vital beings came," you say, "and some of them have even been in men...."
One of them was in Murat, on the day of his great victory.(5) It was a vital force that took possession of him and remained just for that victory; and it came into me, so I saw it all! I saw its entry into Murat's body and the whole battle scene – I lived through it all. And once the battle was over, it left him. It was very interesting.
Satprem: I wanted to clarify something.... I don't know if Mona Lisa and Marguerite de Valois were your incarnations, but weren't they contemporaries!?...
Yes, but I told you – four at once! (6)
Four at once. And, in general, they were the different states of
being of the Mother – the four aspects. Generally one aspect in each embodiment
(when there were four). Or else this or that aspect might have been less
present in one embodiment and more present in another. Sometimes there
was a fairly central presence and then at the same time less central, less
important emanations. But that has happened
several times – several times. On two occasions it was particularly
clear. But I have often sensed that there wasn't merely ONE embodiment,
that the course of history may have crystallized around this or that person,
but there were other embodiments less (how to put it?) ... less conspicuous,
somewhere else. They are the different aspects of the Mother.
you
can find the original text here
(2) Mother later tried to recall the names again, without success: "Those sculptor brothers did a lot of work on the palace at Versailles.... And I am not sure if it wasn't Mme de Montespan. I don't remember any more. This kind of thing should not be talked about vaguely. At the time it was precise, exact: I knew all the names, all the details, all the words – but I never wrote it down and now it's gone. And these things shouldn't be told approximately.
I'll do some research on these sculptor brothers.
No, just leave it as it is: a few 'vaguenesses' (Mother
laughs)."
(3) Has Mother confused Clouet with
Corneille de Lyon? Because it seems there is no Clouet at Blois, but there
is a portrait of Madeleine of Scotland, daughter of François 1,
painted by Corneille de Lyon. Unless Mother confused Blois with another
town and another chateau?
(4) Here we have a choice between
several chilling faces. Of the five portraits of doges by Titian, that
of the doge Antonio Crimani, painted between 1555 and 1576, is one of the
few that have remained in the Palazzo Ducale in Venice. Might this be the
one?
(5) Is the battle in question here
that of Eylau (February 8, 1807) or Friedland (June 14, 1807)?
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