Photo by Victor B. From Puy du Fou, France.

 

Nerida and Leonie’s voices are written this way.

Aedgar’s words are written like this.


You lived on islands close to Africa, between Europe and Africa, on the side where the sun sets. You were a child there of parents who are now your children.

Hispanic language.

He used to do metal works—precious metal.

You would rather hang around with him when he was doing his work with precious metals, than go and have a ‘real’ education. You did not want to learn other things. You thought it was enough.

Photo of a metalworker by  Josh Sobel .

Photo of a metalworker by Josh Sobel.

N: Leonie was a boy in that lifetime?

Yes.

So, now he’s going to show you that you can never learn enough, in this lifetime.

N: He’s the little boy now, that was her father?

Yes.

N: And he still wants to teach her more.

Yes.

N: Oh. And her little girl was her mother in that lifetime?

No, that was a different lifetime.

N: Okay.

L: And my oldest son?

Yeah, she was the mother. You were a little boy, again.

You’ve preferred male bodies, most of the time.

You thought it was more straightforward, easier. You had more freedom to roam around and do things than girls or women had.

Sigh.

This was in the Northern part of Europe: Viking.

It’s an area that you call Scandanavia now. You were living with the Vikings, as a Viking. Your mother was very loving.

You liked a lot to please the gods—by drinking mead.

‘You liked a lot to please the gods—by drinking mead.’ Portrait of a Viking by  Jonathan Farber .

‘You liked a lot to please the gods—by drinking mead.’ Portrait of a Viking by Jonathan Farber.

L: Good Viking!

A very physical life. Very strong body. You did, actually, die from old age—which was something quite rare in this group of humans. They were a bit violent.

Most of them died young.

But you were physically strong. That’s why you were lucky enough, as they thought, to die from old age.

You did not think so because you’d lost your teeth early on.

So, your mother then—who is your girl in this lifetime—tried to grind the food down so you could eat it. She always had to be careful that no one else saw what she did because they would have lost respect.

She was quite protective of you.

L: She still is.

Woman serving mead. From a different culture — painting by  Konstantin Makovsky .

Woman serving mead. From a different culture — painting by Konstantin Makovsky.

So she found you a wife, then, who would do the same things. She taught her all about supporting you and keeping the important things secret.

You—you were just worshipping the mead.

You almost never ate in public because of having no teeth.

You almost always went there to drink after eating.

Or you ate afterwards, if you were still able to eat then. That was questionable most of the time.

The people in your village kind of worshipped you as the ideal Viking.

You had very long reddish hair. They called you ‘The Red Flame.’

Most people had shorter hair because they were less organised. Looking after your hair was another thing your mother and, later, your wife did for you. They kept you, as they thought, presentable.

But I think you might have had enough of long, red hair now. Is there anything else that might be of interest?

L: Are there any of those relationships in my life now? People I’ve had past lives with?

There is one young man that has been around several times.

And there is one young female that you should be a little bit cautious about; the intention of that relationship is not what you think it is.

It’s a bit like she’s thinking: ‘I’m going to manage what you’re doing.’

It’s not so much like that at the moment, but there will be more of it.
The young man is truthful and caring. There are no other thoughts behind, somewhere.

You should be careful with that young female. The conflict’s not so obvious right now, but soon it will be more obvious.

‘The young man is thoughtful and caring. There are no other thoughts behind.’  Kizzuwatna.

‘The young man is thoughtful and caring. There are no other thoughts behind.’ Kizzuwatna.

N: Does she want to control Leonie?

Yes.

N: She wants to have a power struggle with her?

She would not consider it a power struggle because, for her, she’s always the one in power. She knows everything she’s gonna tell her.

N: Is this a friend?

Wants to be. Shows up as a ‘friend.’

It will become more obvious—coming up.

But you do have a few lovely souls around. It is just that those two pop up.

N: The young man, is that her husband?

No.

N: He’s a friend.

Hmm, yes. Might become more of a friend. It’s someone who’s been around, who’s known. He’s very truthful, very caring. No bad thoughts in that mind.

L: And I know him well?

Not so well. There’s something developing that will be of great help to the family.

Other one is just going to look at the environment as a game. She’s trying to execute power, to show off.

‘She’s trying to execute power, to show off.’ Photograph by  Charles Etoroma .

‘She’s trying to execute power, to show off.’ Photograph by Charles Etoroma.

L: Definitely a female?

You know if we say young—

L: Yes?

We are quite old.

L: In comparison.

In comparison, yes.

N: Is she a similar age to Leonie in this life?

A bit older. Female, definitely a female.

L: Definitely a friend? Not a relative?

It could be a relative. It’s someone in the closer circle.

We can feel the energy. We can’t put a name-tag on it.

N: You wanna ask about your husband?

L: Yes. Jerry.

Jerry?

A little bit troubled at the moment, we’d say. But a good heart.

He needs to move out of a certain circle that’s around him. He needs to go away from the people he feels he has something to prove to—no matter how dumb it is.

Excuse me saying it that way.

Everybody would say, ‘You just can’t do this. You can’t say this.’

And he’s like: ‘What am I gonna do? It’s what they expect from me.’

We would say to him: ‘Look for people with different expectations of you.

Don’t play by other people’s rules.

It’s taken you away from the path.

Try to get back on the path. Moving away would help.

Things would get a lot easier, even if at the moment it might look as if it’s all getting more difficult. You seem to feel like you’re in a very bad situation.

There’s someone nearby who’s not very intelligent—he is really dumb—there’s a whole group of them. They’re like: ‘We’re gonna punish this person.’

But they actually will do you a favour. They will be really, really disappointed if they work that out later.’

Do you understand?

L: Yes, yes. I do.

They will do him a favour. They just don’t know it—because otherwise they wouldn’t do it.

L: Okay.

N: So this will help him get back on his path?

Yes. It’s an opportunity.

N: [Sigh] That’s good.

If you’re like in a dead-end, sometimes people take an exit.

L: Okay.

He’s got a much better opportunity.

N: [To L] If people are not on their path, sometimes they say, ‘I can’t make it work in this life’. And then they leave the life.

But he’s got an opportunity.

L: Okay. And he’ll take the opportunity—that’s good.

The problem is that he, himself, does not think that this is an opportunity. He doesn’t understand that others are doing him a favour by putting him in this position. He will find out.

He will be in a much better place because of what those people did to him.

L: Are we talking about a move?

Yes. That’s a new opportunity.

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