Past Life Regression: Just Another Day in My Lives
Some people describe their past life regressions as they would a movie, and you can almost hear the soundtrack crescendo-ing in the background. Maybe they see it that way, too. I don’t.
I get flashes of sight and emotion, sometimes scents, too. Sometimes they’re quick flashes and sometimes they last for several seconds and the environment and inhabitants interact with me as they do in interactive, present-day, meditative journeys. At the time, they seem disjointed and yet, very much like my daily way of life where a memory pops up here and another unrelated one bubbles to the surface there. There’s no storyteller’s pacing or director’s emphasis. They are simply scenes from a life.
When I’ve tried past life regressions before, I’ve looked specifically at lifetimes that had some pattern or information I needed to work on now, something that would help. In one lifetime, I was the tall, dark-skinned, spear-carrying daughter of a Persian magician and an Amazon warrior—always pulled between the world of magick and war, between my feminine and masculine sides, and unable to be fully happy in either world and unable to balance both. That experience definitely related to the lesson I needed to learn, the pattern I needed to examine, at that point in my life.
In other regressions, I’ve opened my eyes to all sorts of questions—and, after much research into obscure source material, finally found my answers to “what WAS that?” in historical documents about Dark Age weather, Macedonian spears, and Medieval sleeping quarters.
I wasn’t particularly interested in doing another past life regression while at the Florida Pagan Gathering but Shannon talked me into it. I didn’t have any pressing need to look to the past—not anymore—to understand myself now. I asked to see three lifetimes related to something in particular, but again, with no sense of urgency…just a “nice to see” kind of thing.
In the hypnosis session, we were to choose from three doors. I saw specific scenes related to the environment behind each door, and spent about 20 minutes in each lifetime, allowing things to come to me rather than aggressively seeking them. The second two doors were so-so lifetimes that related to what I’d asked for but really didn’t interest me much. The first did….
The jumping off point: …At this point, I am in a long hallway as the meditation leader has instructed, and I see a light at the end of the hallway with 3 doors. I’m to walk toward the light and the doors. I see the light as a candle on a low table I can barely see and move toward it. There are no other lights in the hallway except a shaft in the ceiling above the candle opens and sunlight pours through at an angle. As I step into the sunlight, I see three bright red, modern doors with bright brass handles and brackets. They’re very contemporary and look like they should be the front doors to a nice two-story house in an upscale neighborhood. I choose the one to the far left.
Flash #1: As I open the door, there is a second door behind it, wooden and very old with vines around the outside of the stone that the door is set into. I move through the tunnel behind it, feel its coolness, walk by the light of the torches in sconces on the wall. The walls are light-colored, a little peachy or pinkish in hue. This is very similar to an upsetting meditative journey I took in late January 2007, so I’m worried about what I might encounter. This isn’t hell, though, and there’s no one here to try to rescue. Been there, done that. I’m alone and moving through the tunnel. I’m a little apprehensive but okay. I look down at my feet and it seems I might be barefoot (so what’s new?!) or wearing minimal sandals. I seem to be in this tunnel for a long time, with nothing happening, but I am moving forward.
Flash #2: I emerge from the tunnel and can see the sky ahead, pinkish the horizon and a bright teal jewel above. I don’t know if this is sunrise or sunset, but the sky over a stone courtyard in this city I’m in is breathtaking. This is a very quick flash, but the stones walls are light in color, like in the tunnel, and are either stone or stucco. There are trees and stone vases of flowers in the courtyard ahead of me. The trees have a particular shape and have yellow fruits hanging from them. Lemon trees. This place feels old, long past. Maybe Roman or Sumerian. Possibly Greek. There’s a sense of “civilization” here.
Flash #3: I’m in the countryside looking at a city in the distance at sunrise or set. The road ahead is dirt but “paved” with rocks. There doesn’t seem to be a lot of green grass on either side of the road but my focus is on the city with its stone buildings.
Several minor flashes of city life, mostly focused on courtyards, low walls of light-colored stone. No focus on people. It’s almost as if this place is very quiet and perhaps people are still sleeping and I’m walking it unseen or unheard. There’s a serenity here, and a sense of a happy life.
Flash #4: A scene in the countryside. Bright green grass, unkempt. This lifetime is not near water. There’s more of a desert, earthy feel to the city, so I’m relieved to see such lush grass here.
Flash #5: My focus is on a woman (me?) as she walks into a room with stone walls and a stone floor and takes her place in the center of several rows of girls. She is full-grown—maybe 20, and the other girls appear to be all teens and preteens. They are all dressed alike in black bandeau tops that twist in the middle and tie in back. They wear skirts that I at first think are grass but there’s no polynesian feel here. The skirts are actually green, like sarongs or with loose elastic waists or drawstring waists. Their feet are either bare on the stone or in minimal sandals. They are all happy, and she’s very chatty and respected among this group. There’s a sense of family, but the girls are too old to be her children. They are like sisters or perhaps young priestesses, all of the same house. The sense is less of blood family and more like a group of classmates and their teacher. Her hair is long and black but tied behind her head in an odd way that loops outward, possibly with sticks to hold it in place. She takes her place in the center as they are all turned to face same direction. The scene reminds me of a class picture where they are posed or perhaps prepared to sing or perform in some way. The young woman is important here and holds a position that is highly regarded among these girls. There’s also a sense of joy.
Flash #6: The stone room is dark and reverent, only a candle lighting the low stone wall or table. There is a human skull beside the candle. It has been polished and is a thing of respect. There’s a deep sense of reverence here I cannot shake, and the skull is a sacred thing here, something of tremendous power and regard. I have the impression that this is how the young woman was remembered and honored after her death. This place seems to be a crypt but at the same time, a place of communion with the sacred dead.
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