Subject: More Past Lives. Mar. 30, 2008.
Here we are told a few more past lives of Michel,
both great and small.
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She signalled again, and the sound of the gong
indicated the end of her speech. One by one, the guests
bowed low before Labinola, kissing first her feet and
then Xinolini’s in gestures of subservience.
This scene disappeared in a blur to be replaced by
another, in the same palace but another room, where the
royal family sat in thrones. Here, Labinola was
administering justice. All sorts of people paraded
before the Queen and she listened attentively to them
all.
An extraordinary thing happened. I found I was able
to enter into her body. It’s quite difficult to
explain, but for a considerable time, while I listened
and watched, I was Labinola.
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I could understand absolutely all that was said, and
when Labinola pronounced her judgement, I was in total
agreement with her decisions.
I could hear in the murmuring of the crowd,
reflections of admiration for her wisdom, never once
did she turn towards Xinolini and never did she ask his
advice. I felt a great pride invade me, knowing that I
had been this woman in another life and I felt, during
this time, the light tingling sensation that I was
starting to recognize.
Everything disappeared again and then I was in the
most luxurious of bedrooms. It proved to be that of
Labinola, who lay, completely n-ked, on the bed. Three
women and two men hovered nearby. As I approached, I
could see her face, streaming with perspiration and
disfigured with the pain of labor.
The women, midwives, and the men, the most eminent
doctors in the kingdom, seemed worried. The child was
arriving in a breech position and Labinola had lost a
lot of b-ood. This was her first child and she was
exhausted. Fear was evident in the eyes of the midwives
and doctors and I knew that Labinola already realized
she was going to d-e.
The scene moved forwards two hours in time and
Labinola had just breathed her last breath. She had
lost too much bl-od. The child, too, had di-d,
suffocating before it could emerge into the world.
Labinola, this pretty creature of twenty-eight years,
so beautiful and good had just released her Astral body
- my Astral body, to live another life.
Further scenes were already appearing, revealing
other lives on other planets - as men, women and
children. Twice I was a beggar, and three times a
sailor. I was a water carrier in India, a goldsmith in
Japan where I lived till ninety-five years of age; a
Roman soldier; a b-ack child at Chad devoured by a lion
at the age of eight years; an Indian fisherman on the
Amazon, dead at forty two years leaving twelve
children; an Apache chief dead at eighty six years;
several times a peasant farmer, on Earth as well as on
other planets; and twice an ascetic in the mountains of
Tibet and on another planet.
Apart from when I was Labinola, ruling Queen of
one-third of a planet, most of my lives were very
modest. I saw scenes from all eighty of my previous
lives - some of which impressed me a lot. I do not have
time to detail them all in this book, as they would
fill a volume on their own.
Maybe one day I will write it.
At the end of the `show', I had the impression of
moving backwards in the `tunnel' and, when I opened my
eyes, Thao and the three Thaori were smiling kindly.
When it was established that I was indeed back in my
present skin, the leader addressed me in the following
words:
`We wanted to show you your past lives, that you
might notice they vary, as though they were attached to
a wheel. Because a wheel is made to turn, any point on
it that is on top will soon be at the bottom - it is
inevitable, do you see?
`One day you are a beggar and then you can be a
Queen, such as Labinola who, of course, was not only at
the top of the wheel but also learned a lot and greatly
helped others. And yet, in many cases, a beggar will
learn as much as a king and in some instances he will
learn much more.
`When you were an ascetic in the mountains, you
assisted many more individuals than in most of your
other lives. What counts most is not appearances, but
what is behind them.
`When your Astral body takes on another physical body
it is, quite simply, in order to learn more, and even
more...
`As we have explained to you, it is for the sake of
your Higher Self.
It is a process of continual refinement, which can
occur just as effectively in the body of a beggar as in
that of a king or a miner. The physical body is but a
tool. A sculptor's chisel and hammer are tools; they
will never reach beauty on their own, but they
contribute to it in the hands of an artist. A wonderful
statue could not have been created with the artist's
bare hands.
`You should always bear in mind this main point: An
Astral body, in all cases, must conform to Universal
Law, and, by following nature as closely as possible,
it can achieve the ultimate goal by the fastest path.'
With that, the Thaori resumed their places and we
resumed ours.
During my stay in the doko, the sun had set; however,
they didn`t deem it necessary to explain the luminous
ambience that allowed us to see at least fifteen meters
in distance inside the doko.
My attention was still focused on the Thaori. They
were looking at me with kindness, surrounded by a
golden mist that became more and more dense, into which
they disappeared - just as they had on my first visit.
This time, Thao gently placed her hand on my shoulder
and asked me to follow her. She led me towards the
entrance of the doko, and in an instant we were
outside. It was completely dark and no light shone
anywhere apart from over the entrance. I could see no
more than three meters in front of me and wondered how
we were going to find the flying platform. I then
remembered that Thao could see as well by night as by
day. I was curious to see evidence of this - like a
typical Earthling, I sought proof! It was provided
immediately. Thao lifted me up effortlessly and sat me
on her shoulders, just as we on Earth carry our little
ones.
`You could stumble,' she explained, as we proceeded
along the path - and indeed, she seemed to know exactly
where she was going, just as though it were daylight.
Before long, she put me down on the seat of the
Lativok and sat herself next to me. I placed my mask,
which I had been holding in my hand, on my knees, and
almost immediately we took off.
I must say that, in spite of my confidence in Thao, I
felt uneasy at flying `blind'. We flew between the
immense trees of the park and I couldn't even see the
stars that usually shone so brightly. Great clouds had
formed after sundown and our surroundings were
completely obscured in darkness. Next to me, however, I
could see Thao's Aura and the `bouquet' at the top of
her head, which was particularly bright.
We picked up speed and I'm sure we travelled as fast
in the darkness as we did by day. I felt some drops of
rain sting my face. Thao moved her hand towards a point
on the machine and I felt the rain no more. At the same
instant, I had the impression that we were stopping and
I wondered what was happening, for I knew we were over
the ocean. Occasionally, in the distance on our left, I
could make out colored lights that moved.
`What is it?' I asked Thao.
`The lights at the entrances to the dokos on the
coast.'
I was trying to understand why the dokos were moving,
when suddenly, through the darkness which seemed even
thicker, a light came directly towards us and stopped
beside us.
`We are at your place,' said Thao. `Come on.'
She lifted me again. I felt a slight pressure as when
one enters a doko and then felt the rain full on my
face. The downpour was very strong but, in a few
strides, Thao was under the light and we entered the
doko.
`We got here just in time,' I remarked.
‘Why? For the rain? No, it's actually been pouring
for a short while now. I activated the force field -
didn't you notice? You stopped feeling the wind, didn't
you?'
Yes, but I thought we had stopped. I don't
understand at all.'
Thao burst into laughter, which put me at ease again
and suggested that the explanation to the mystery was
about to unfold.
`The force field not only keeps the rain out but also
the wind, so you had no reference point by which to
judge whether we moved or not. You see, one must not
rely on perception.'
But how could you find this place in such darkness?'
`As I told you, we can see as well by night as by
day. That's why we don't use lighting - I realize that
is not convenient for you, you can't see me now, but,
in any case, we have had a very full day and I think it
would be best for you to rest now. Let me help you.'
Part 1.
John Winston. johnfw@[EMAIL PROTECTED]
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