Ode to the unsurpassed beauty of womankind!
Ode to the unsurpassed beauty of womankind!
During the course of the four dreams that follow, there are instances of this sign †. Where it appears it means that at the end of dreams there is an appendix of sorts of the 13 Michael Overleaves of persons who appear during the course of the dreams and commentary thereafter. The Overleaves are not listed alphabetically; rather, they appear as they are encountered during the course of the dreams. Enjoy and especially if you are already a Michael Student… again, all Michael overleaves were channelled by original Michael group member, Mathilde Duchenne and later, Kritika Bhatt.
In this the first dream, I was in a bookstore with a lot of books. It seemed like the Yonge Street and St. Clair Avenue neighbourhood of Toronto. As I reported there for work, it would turn out to be a bank.
I was there for eight o’clock but I said to Olaf Gamst† that I had to leave just then. I wanted to go up to York University and pick up something. It was a lotion that I have been trying to find for so long.
I went off and came back. This time, on my return, the bookstore was quite crowded. It seemed more like a bank than anything else. You had to stand in line to get the books that you wanted.
I was there to get a particular title and couldn’t seem to get it. It turned out, in point of fact, that I was cashing a cheque. However, they were not able to cash the cheque because I had only just started working there.
I was in a house, in this the second dream, and was rolling up the screen. Maria di Caspieri† was on a big round bed. I was quite aroused by her.
She was quite aroused and wanted me to give her a massage. I asked her to wear… just to strip right down to her panties and just wear something sexy.
I gave her a massage and I fondled her and things naturally evolved. We both realised that we needed a lot of holding and that there has been a lot of yearning between us over the years.
*She was wet, loose and hungry. We passionately kissed as I reached my left hand up, from beneath her left armpit, craning her neck around to meet my hungry tongue.
My tongue possessively probed and stroked her into surrender while from behind, I ploughed her swollen-lipped cunt, my right hand keeping her in place.
My right hand’s fingers feverishly rubbed her swollen, hardened clit into melting quivering surrender. As we knelt hungrily moaning and devouring each other in bed, a very lucid passionate interlude it proved.
This sweaty romp, after the sensual caresses bled away and the massage matured to its natural beautiful climax. END.
I went along the street, in this the third dream, having left the bookstore. Just then, a white car came by and stepped on the gas so that I did not cross its path.
There were a bunch of restaurants into which people kept going, however, they went in from the back lane – they went in through the back.
There was a large Oriental party that entered one restaurant and then a Black couple entered. As this Black couple was entering another restaurant, I noticed that the male was Slim McDaniels who owned the restaurant.
I saw him later on and he up in the sky. He was actually up in the sky as though on another plane of existence entirely. He was wearing a beautiful suit and I looked up at him and I said,
“Yo Slim! You look good!”
“Yeah!” he answered. We interacted quite nicely.
In this the fourth and final dream, I was seated in what seemed like a theatre. I was looking at a screen and there was a magazine that I had.
I had a March 1989 issue of it. It had a Black man on the cover and it was called Arts Revital or Arts Revival or something like that.
It seemed like a Black arts magazine. On the one page that I was looking at, it had a whole bunch of pictures from the Jazz Age.
One of the pictures, down in the lower left-hand corner, was a picture of Gregory Hines. Gregory laid, in the buff, on his tummy.
He was looking up at the camera such that, the way the shot was taken, it was from above so that you saw his face. He was lying down on a beautiful plush rug like an animal skin.
More importantly, you saw his arse. It was quite a beautiful arse. Too, there were some other pictures of some Jazz greats.
It seemed more like a nightclub because up ahead there was a woman who was singing. She was very Billie Holiday-like and joked about never liking to go out.
She would always sneak out and do auditions. Apparently, it would just be the death of her when she would go into a club and she would audition and she would not get the job.
She was singing. There were people ahead of me closer to the stage. Everybody was truly in love with this woman. She was quite a great singer, in fact, and she seemed very Billie Holiday-like.
In having looked up on the stage, it wasn’t so much a movie screen as it was a holographic presentation. You could see all these scenes that were set. In the same manner, the scene in the nightclub was very holographic.
The other scene was one that was set in Harlem in the 1930s and as a result was in black and white. You had a very elegant Black man seated in a rocking chair on the sidewalk because he was in the process of moving.
The furniture was beautiful. There was a long-haired Black woman playing on the piano. She was in the foreground and then way in the back there was another person, a male, playing an instrument.
I think it was another piano. It was playing a classical tune but playing it, if you like, in the Jazz style. It was very nice, very moving.
The Black male, who had all the beautiful furniture on the sidewalk and was in process of moving, was quite elegant and quite nice. It was rather something to have seen him. I really connected with him.
*I will add here that, much after the fact, I was as if astral-projected and really taken by the Black man in the rocking chair. This at the time should have been a dead giveaway.
Merlin’s favourite piece of furniture was his pine rocking chair. I would learn, while living in Vancouver, of his immediate past life. He was born in Louisiana though not in New Orleans.
He was Creole and eventually went to New York City during the Harlem Renaissance. He was a musician and though he did not rise to prominence, in that lifetime, he was rather elegant and stylish.
This holographic black and white glimpse into the past, clearly for me, was of seeing my task companion – Merlin. Prior to returning to be born in Toronto, on July 21, 1947, this was seeing Merlin as he existed in his immediate past life†.
He was so large-eyed and had a curled moustache… gorgeous. He was as if a Creole version of James Tramble. So many years after that epiphany at the National Portrait Gallery in London, England, in July 1990, it would make perfect sense that the mysterious James Tramble’s look would not be dissimilar to how Merlin looked in his immediate past life – when he ended up living in New York City during the Harlem Renaissance.
Naturally, no place held more sway for Merlin like New York City, his former stomping grounds, where he clearly enjoyed himself.
Meanwhile, I was then concurrently incarnate in Brazil, female and rather eccentric and well-off. I was a socialite named Theresa† – for the sake of privacy the surname remains withheld – who patronised up-and-coming writers, of the day, among them were Gabriela Mistral.
I was said to have been instrumental in providing Jorge Luis Borges† with the introductions in Europe that got his career going. To say the least, this much explains why on reading ‘The Forking Paths,’ I uncontrollably cried though not knowing why I did.
It still remains my favourite book… truly magical.
Too, thanks to going to Coco De Cuevas’s after my performance in 1983, which was choreographed by Douglas Dhalgren† and got reviewed in the New York Times, I would eventually be invited to another party where I would meet Borges himself.
I felt so honoured and he did nothing but clutch on to my hand, stroking it, much as Catherine ‘Lica Montpelier† used to. Jorge kept on talking to me in a hushed tone in Spanish and Portuguese.
So go figure and no wonder, too, both Spanish and Portuguese came so readily to me in high school. Additionally, Italian was also a fluid breeze for me when studying in high school.
I was said to have been of Incan heritage and smoked cigars, as part of my eccentricity, in what was my immediate past life.
Merlin and I did not know each other then.
This marvellous dream, the fourth and last dream, was on Monday, February 27, 1989 while the Moon transited Scorpio and my sixth house. I do believe that the ‘Creole’ man seated in the rocking chair to have been Merlin, in the immediate past life, prior to his recently concluded life when I knew him.
The reason for this dream being both holographic and in black and white had to do with the fact that I was being a voyeur into Merlin’s past life. At the time of the lifetime, I would then have been incarnate as the dream occurred either in the late 1920s to early 1930s.
I was also at the time, of that point of Merlin’s life – before I had known him in fin de siècle, twentieth century Babylon, currently incarnate in São Paulo, Brazil as Theresa. The touchstone between both lives would have been the rocking chair which Merlin really enjoyed. It was his favourite piece of furniture.
This dream was set at the time of the Harlem Renaissance, a point at which the then-Creole Merlin would have been in New York City. Too, this speaks to why Merlin had an intense interest in the Harlem Renaissance and read everything by writers of that era and later, most notably Zora Neale Hurston† and Chester Himes†.
There are two times that I ever dream in black and white. The first being on the two occasions that I fell asleep drunk. The first time occurred while living on campus at York University’s Vanier Residence and someone had switched drinks with me.
The second time was just after Merlin’s passing when Owen Hawksmoor† showed up at my home and proceeded to give me a drink. The drink was from a bottle of soda that he supposedly had been drinking which was clearly spiked.
He did not drink any of it in front of me. I then passed out to awake, with a hangover hours later, with Owen having taken his leave of me. Owen did leave me alone and drugged but not before, of course, having stolen from me.
The only other time that I ever dream in black and white has to do with dreams that are past-life-related. These dreams, as with this one, always seem to be glimpses into a past life of someone else’s rather than a past life of my own.
This is also another reason why I am confident that this was a past life of Merlin’s.
Michael Overleaves Appendix:
Olaf Gamst 18/12/45, Montréal
This is a first level old artisan in the observation mode, with a goal of dominance, a spiritualist in the emotional part of intellectual centre.
Olaf has a Mercury/Venus body type.
Olaf has a primary chief feature of arrogance and a secondary of stubbornness.
He was sixth cast in his cadence and his cadence is second in the greater cadence. He is a member of entity two, cadre four, greater cadre 7, pod 414.
He has a discarnate artisan essence twin and a scholar task companion who is alive and they do know each other but have not worked together in this life.
This fragment is an artisan with priest casting, so his art will always manifest a spiritual component, no matter what the medium. This fragment was a well-known painter of placid rural landscapes in the latter part of the eighteenth century in England; several of his works hang in noble houses.
You were once a student of this fragment’s, in a life in Amsterdam, in the seventeenth century and you were lovers for a short time in that life also.
Twice this fragment has illustrated books written by his task companion and he was also an illuminator of manuscripts in the twelfth century of the Common Era.
He was an architect during the reign of Augustus Caesar and several buildings he designed still stand, although one was rather badly damaged by the volcanic eruption that buried the city of Pompeii in the first century of the Common Era.
*Olaf created the masterful lithograph of me which was herein shared on February 26, 2013. END.
Maria di Caspieri 17/10/56 Toronto
Maria is a mid-cycle mature artisan in the passion mode, with a goal of submission, an idealist in the emotional part of moving centre.
This fragment has a Mercury/Lunar body type.
Maria’s primary chief feature is arrogance with a weak secondary of martyrdom, which she finds romantic in the extreme.
Maria was fourth cast in her cadence and her cadence is second in the greater cadence. She is a member of entity three, cadre two, greater cadre 5, pod/node 404.
This fragment has an artisan essence twin who is alive but there were no plans made to meet in this lifetime, as there is considerable age and geographic location disparity here. She has a discarnate scholar task companion who does exert some influence on her but not as much as that fragment did several years ago, for this scholar fragment will probably be reincarnating within the next two years.
So here we have a scholar-cast artisan, who is both passionate about her art and submissive in her interpersonal relationships, except where her canines are concerned.
Maria has a great deal of creative ability and quite a bit of fluid grace. With her scholarly focus and her warrior organisational skills, Maria could have brought enormous creativity to bear.
However, in a fragment with adventure, security and communion as her three primary needs, this is not likely. She needs a base of operations, communion with others and the ability to make frequent forays into the outside world.
Maria has been a portrait painter in the past; however, her greatest talent was in the area of design. She was a fabric designer in Paris during the reign of the Sun King, Louis XIV, in the late seventeenth century and, this fragment, who was male in that life, designed many fabrics for the sycophants who graced this brilliant court. Some of them, we must admit, were far more grandly dressed than their royal masters.
Maria was also no stranger to the dance, having danced on the classical Greek stage and as a Morris dancer.
Maria and Arvin were brothers of the cloth together in a life where they both illuminated sacred manuscripts, some of which are still housed in the Vatican Libraries.
They were also sisters in the flesh, during the latter part of the eighth century of the Common Era in India.
Past life of Merlin’s: 5th life at 7th level Mature
The next incarnation for this fragment, Merlin – seventh level mature scholar, occurred in the early part of this century when this scholar chose to reincarnate in an area of the Eastern United States in approximately 1904.
He was a labourer in an area of Louisiana, where he worked on the docks and made his way through life, by his innate survival skills. He was the youngest of a family of eight, was of mixed heritage including Creole and French and had little educational training much to his displeasure.
He was, however, an avid whistler and did learn to accompany simple dance steps as entertainment and was able to improve his standard of living in this regard. He lived on the road, so to speak, was able at one point to visit New York City, where he thought he might fare better but was unable to make ends meet and returned to the South within a year’s time.
In this incarnation he did marry briefly, quite young in life, but his wife was killed in a brawl and he left his two young children to be raised by the mother of the deceased wife. After that, he was not inclined to be tied down and preferred to ‘wing it’, and with the primary need for freedom, this was no surprise.
He lived to be approximately 28 years of age, when he died of influenza – 1932.
He did as you know choose to reincarnate more quickly in the most recent past incarnation which did have to do with his plans to meet you, Arvin.
This fragment was in the perseverance mode with a goal of rejection, a pragmatist in the emotional centre, moving part. He had a strong chief feature of martyrdom and a secondary of self-destruction.
Body type was Mercury/Solar – a small secondary of Solar.
Merlin’s casting, of course, second cast in fourth cadence, fourth greater cadence, entity six, cadre one, greater cadre 7, pod 414.
Overleaves of Theresa’s, Arvin’s immediate past life.
In the immediate past life the fragment who is now Arvin was female. She was born November 26, 1869, in a small town on the São Francisco River of Eastern Brazil.
Her name was Theresa and she was sixth child of eleven siblings. Her father was the local doctor.
In 1904, the family moved to Curitiba, where she lived for seven years. Theresa’s grandmother took her to São Paulo when she was twelve where she lived for the remainder of her life.
Theresa was a true medicine woman of the old ways and was married to a prominent physician who did not interfere with her own practice.
This couple had four children, two of whom became allopathic physicians and one of whom became a shaman in the remote Argentine wilderness.
Theresa wrote poetry and was a fascinating conversationalist. She was very concerned with the fate of the Brazilian rain forests, even at that remote date. She was bisexual, sparkling, witty and quite handsome, having the artisan’s innate ability to “morph” both her appearance and her personality.
After the death of her husband, in 1928, Theresa had a tumultuous love affair that lasted ten years, with the wife of a well-known politician. The politician’s wife was years younger than Theresa and stunning.
From 1919 on Theresa kept a salon which became the gathering place for many of the literati of that day. She was good friends with the Argentinean writer, Jorge Luis Borges† and entertained Chilean poet, Lucila Godoy de Alcayaga, known professionally as, Gabriela Mistral in her salon.
She had a life task of facilitating self-healing and this she managed to combine with her love of poetry and literature and may well have been the first woman to use poetry as therapy in her practice.
This fragment smoked cigars as part of her eccentricity and, alas, died of emphysema in São Paulo, on August 14, 1942. She was 73 years old. Since the two youngest of Theresa’s sons and six of her grandchildren are alive today, we cannot give you more information on her identity.
This fragment was also a seventh level mature artisan – second life as seventh level mature – in the power mode, with a goal of dominance, a realist in the intellectual part of emotional centre.
She was quite tall, with a Saturn/Mercury body type; was of Inca Ancestry, so could be quite exotic-looking.
Theresa had a primary chief feature of stubbornness with a secondary of arrogance.
Of course, Theresa’s casting, which never changes from lifetime to lifetime was/is: sixth cast in third cadence, third greater cadence, entity six, cadre one, greater cadre 7, pod 414.
Both essence twin and task companion – Merlin – were discarnate at that time. She did complete her fourth internal monad in the positive pole at the age of 40; fragments with stubbornness tend to take longer than some other fragments with this monad.
Her three primary needs were: exchange, communion and freedom. Freedom and communion can be internally abrading but in Theresa’s case, she juggled them quite well.
She was unconscious at the time of her seventh monad transition – death. Her astral body went straight to the deathscape she had created. This fragment was reborn as the fragment who is now Arvin da Braga, in Nevis the West Indies.
In that lifetime, this fragment’s path did cross with many of those fragments known in the current life, including the fragments who are now Artemis de Bolanos†, Oberon Samuelson† and Oleg de Brontë†.
True shamanic arts are not applicable to fragments whose soul levels are younger than mature. Shamanism requires the ability to travel between the physical plane and the astral plane in a lucid state and at will.
It also requires the ability to makes oneself invisible and to shift shapes so as to appear to another fragment as a totem animal or spirit.
This is an art that is acquired during the mature soul cycle. The focus of the young soul cycle is material success; therefore being a shaman would not appeal to most young soul fragments.
Younger mature souls generally do not pursue this, even though it might be theoretically available to them. They are caught up in the establishment of right relationships with those in a very small sphere.
However, we would note that both the fragment who is now Arvin and the fragment who was most recently Merlin, in a life where they worked together as task companions, were both Dogon blacksmiths in the ninth century of the Common Era.
This was considered to be a spiritual endeavour by the iron-smith society of the Dogons.
*I have dreamt, with uncanny lucidity, of Theresa since childhood. END.
Jorge Luis Borges 24/8/99 Buenos Aires<O>4/6/86 Geneva
In the immediate past life, the fragment who was Jorge was a sixth level mature scholar in the passion mode with a goal of growth, a realist in the moving part of intellectual centre.
He had a Mercury/Saturn body type.
Jorge’s primary chief feature was stubbornness with a strong secondary of arrogance.
This fragment was fifth-cast in the cadence and the cadence is fourth in the greater cadence. The fragment is a member of entity six, cadre one, greater cadre 24, pod/node 414.
In that life, both the fragment’s scholar essence twin and priest task companion were discarnate. The task companion has since reincarnated in the Yucatan peninsula.
Jorge’s three primary needs were: expression, adventure and freedom.
He was bisexual, preferring sex with women, but having occasional affairs with men, particularly with young Greek tourists in Buenos Aires and again in Geneva.
This sage-cast scholar has been literate in a total of 49 lives. Of note was a life straddling the seventeenth-eighteenth centuries, when this fragment was the English philosopher, John Locke, who founded the philosophical movement called empiricism.
This fragment wrote copiously in many of his previous lives.
There was a facilitating agreement with the fragment who was Theresa and who is now Arvin da Braga. This agreement was successfully completed, as Theresa was able to introduce Jorge to the fragment who proved to be his entrée into the literary mainstream of Europe.
Douglas Dhalgren 2/4/52 Ohio
This fragment is a sixth mature artisan – second life at this level – in the observation mode with a goal of growth. Douglas is an idealist in the emotional part of moving centre.
Douglas’s body type is Saturn/Mercury.
Douglas’s primary chief feature is self-deprecation and he has a mild secondary is mild impatience which is primarily internal.
Casting for Douglas is fourth in a fifth cadence. His cadence is second in the greater cadence. Douglas’s entity is the second in the sixth cadre, greater cadre 7, pod 404.
The essence twin is an artisan and the task companion a sage with whom he works.
Douglas’s three primary needs are: expression, exchange and communion.
All told, there are 19 past life associations with Arvin and 14 with Merlin.
Douglas had a mild facilitating agreement with Arvin for support and personal growth which was facilitated. Douglas’s life task has to do with expressing art at its finest or most true form.
Catherine Angelica (‘Lica) Montpelier Nevis
The fragment who was Catherine Angelica Montpelier is a first level old slave. In the immediate past life she was in the passion mode, had a goal of growth, a pragmatist in the intellectual part of emotional centre.
She had a Venus/Mercury body type.
Catherine Angelica’s primary chief feature was stubbornness with a weak secondary of martyrdom.
This fragment was third cast in her cadence and her cadence is sixth in the greater cadence. She is a member of entity one, cadre five, greater cadre 2, pod/node 808.
This fragment does not have an essence twin but her priest task companion was alive during her lifetime. There were, however, no plans to meet.
Her three primary needs were: communion, expression and acceptance.
So Catherine Angelica Montpelier is a warrior-cast slave, who will be seen as strong and kind probably throughout the early part of the old soul cycle. Her interpersonal relationships will always be solidly based in her concept of the higher ideal and her work in the world will always be oriented toward service to the common good.
She and the fragment who was Harella da Braga have actually had six previous lives, where they knew each other. Although they were not related by blood, in any of these lives, close friendship was the rule rather than the exception.
The fragment who was Catherine Angelica Montpelier served in the compassion position in Harella’s support group, during this immediate past life.
She also served in the mentor position for a time in the support group of the fragment who is now Arvin. While not strangers, she and Arvin have no significant past life encounters.
There was a great deal of compassion and love in this life. She found Arvin to be a delightful, young companion and immensely enjoyed his company.
Zora Neale Hurston 7/1/91 Al. <O> 28/1/60 Fl.
This fragment is a sixth mature artisan – first life at this level, some karmic debt repaid – in the caution mode with a goal of growth, an idealist in the emotional centre, intellectual part.
Body Type is Solar/Saturn.
Zora’s primary chief feature was arrogance and the secondary was martyrdom.
This fragment is fourth cast, fourth cadence, greater cadence seven. He is a member of entity six, cadre one, greater cadre 7, Pod 414 – same entity as yours (Arvin and Merlin).
Artisan essence twin and sage task companion with whom she did work.
18 past associations between Zora and Arvin and 14 past life associations with Merlin – there has been some dream contact here.
Zora’s three primary needs were: expression, freedom and adventure.
Chester Himes 29/7/09 Mo. <O> 12/11/84 Spain.
This fragment is a sixth level mature artisan in the power mode with a goal of discrimination, a sceptic, in the intellectual part of moving centre.
The body type is Saturn/Mars.
Primary chief feature is arrogance and the secondary is self-destruction.
This fragment is third-cast; cadence is fourth in the third greater cadence, entity two, cadre six, greater cadre 7, node 414.
The essence twin also an artisan. The task companion is a sage; both were incarnate and known to him.
This fragment was no young soul; a life full of karmic repayment which included imprisonment.
The three primary needs here are: exchange, freedom and power.
Incidentally, there are 9 past associations with the fragment who is now known as Arvin and 4 with the Task Companion, Merlin.
Owen Hawksmoor 11/11/59, Havana, Cuba
This is a seventh level young scholar in the power mode, with a goal of acceptance, a cynic in the intellectual part of moving centre.
He has a Mercury/Lunar body type.
Owen’s primary chief feature is arrogance, with a secondary of impatience.
This fragment was third cast in his cadence and his cadence is fifth in the greater cadence. He is a member of entity seven, cadre two, greater cadre 41, pod/node 417.
Owen has a discarnate scholar essence twin, whom he did know in childhood but who died accidentally at the age of 18. This fragment has a king task companion, who is alive, however, there are no plans for them to meet in this lifetime.
Here is a warrior-cast scholar, with much king energy, which gives him a great deal of focus. His mode and goal are constantly in conflict. He is awesomely detached from the emotions of those around him, and will need to have at least one more life at the young soul level before he can progress to the mature soul level.
Arvin knew this fragment in five previous lifetimes but the relationship in the present life was the first one of an intimate nature. Owen was able to accept his own homoeroticism, which is somewhat unusual for a young soul, but it was probably due to a very early experience of a positive nature.
Artemis de Bolanos 16/12/46, Toronto
This is a mid-cycle mature sage in the passion mode, with a goal of submission, an idealist in the intellectual part of emotional centre.
Artemis has a Venus/Mercury body type.
Artemis’s has a primary chief feature of self-destruction and a strong secondary of arrogance.
This fragment was fifth cast in her cadence and her cadence is third in the greater cadence. She is a member of entity two, cadre two, greater cadre 4, pod/node 414.
She has a sage essence twin, who is alive, but there are no plans to meet. Her warrior task companion is discarnate at the present time but will perhaps reincarnate during the early part of the new millennium.
Artemis is a sage-cast sage, so the mid-cycle here will be more difficult than it would be for a more balanced, focussed fragment. The mid-cycle of the mature soul level is difficult for all fragments, for it is when the perceptions of the mature soul really open up and the fragments learn what it is to perceive others as they perceive themselves – at least level five paraverbalism.
At 51, Artemis has not yet completed the work on her fourth internal monad, so may have to repeat the lessons of this particular life since she has also abdicated a number of her agreements by not having completed the monad.
Substance abuse has been a big problem for this fragment since she was in her teens.
In her immediate past life, Artemis was a well-known actress on the London stage. She abandoned a son, whom she had by a colleague, when the child was three years old, so that she could live with a lover who did not like children. Submerged memories haunt this fragment and her modus operandi is to retreat into the trappings of ill health.
There is so much homemade drama in her life that she has virtually no ability to focus on anyone other than herself. On the other hand, she has very great creative ability at her disposal, should she choose to exercise it.
Oberon Samuelson 29/4/46<O>4/4/11
This is a fifth level mature sage in the observation mode with a goal of dominance, a sceptic in the emotional part of intellectual centre.
Oberon has a Mars/Mercury body type.
Oberon’s primary chief feature is that of arrogance and a secondary of impatience.
This fragment was fourth cast in his cadence and his cadence is sixth in the greater cadence. He is a member of entity four, cadre five, greater cadre 31, pod/node 404.
Oberon has a sage essence twin who is alive; however, there are no plans to meet in this lifetime. He has a discarnate scholar task companion.
This is a scholar-cast sage who likes to be in charge of any situation he finds himself in. He does have a great deal of creative ability at his disposal, which he has put to very good use in the past.
Oberon has been an actor in many previous lives, beginning on the Greek stage in the second century before the Common Era. He was best known in that life for his performances as Creon in the Antigone of Sophocles and in The Seven Against Thebes by Aeschylus.
He was also prominent in Japanese Noh Drama and in Sanskrit works by Bhasha.
*Since meeting in Vancouver at the start of both their careers in the theatre, Oberon was a friend of Merlin’s. Oberon starred on stage, television and film and his credits include: The Grey Fox, Cube, Popeye, Duct Tape Forever and The Red Green Show. END.
Oleg de Brontë 13/8/48 Auckland, New Zealand
Oleg is a mid-cycle mature scholar in the observation mode, with a goal of rejection, which does function much of the time in the positive pole of discrimination but now and then slips a little into prejudicial thinking. He is a sceptic in the moving part of intellectual centre.
This fragment has a Mars/Mercury body type.
Oleg’s primary chief feature is that of impatience and a weak secondary of self-destruction.
This fragment was fifth cast in his cadence, which does give him a marvelously melancholic mien. His cadence is second in the greater cadence. He is a member of entity five, cadre four, greater cadre 42, pod/node 414.
Oleg has a discarnate scholar essence twin and a discarnate sage task companion, both of whom exert much influence on him.
Even though this man is approaching his half-century mark, he has not yet completed his fourth internal monad because of his great existential angst.
His motto could easily be: I am, therefore I drink. Yet he has enormous talent he could draw upon should he wish.
Oleg has major drama in this life and spends much of his time brooding with great skill and intensity. However, he does have the ability – from his sage casting – to laugh at himself and at others. Oleg does not graciously suffer fools.
In this life, this fragment is bisexual with a preference for homoerotic encounters, but has had limited experience here, due to fear of violence. He was very attracted to Arvin because of the priest casting. He felt safe enough to allow part of his nature to become exposed.
Perhaps we would add at this point that pods/nodes 129 and 414 are known to us as having a great number of literary and stage luminaries. The performing, visual and intellectual arts are highlighted in these two groupings.
Part of this fragment’s brooding nature comes from his most prominent past life as the nineteenth century English novelist, Charlotte Brontë. This fragment was a poet in the early part of the eighteenth century, was female at that time and wrote using her brother’s name.
Although this poetry was of very good quality, it was, again, quite melancholy and not in keeping with the rather raucous times in which she wrote.
In a life in Ireland, in the early part of the fourteenth century, this fragment, this time male, was an accomplished harpist. He did know the fragment who is now Arvin in that life, as well as an earlier life in the East Indies, when they were both female and were sold into slavery to a rich land-owner in the Middle-East.
This was not as bad a life as it may sound, as these two young girls became accomplished courtesans and managed to escape the amorous attentions of their elderly owner by spiking his wine with a powerful soporific.
They were also lesbian lovers in that life.
**The art accompanying this dream is: Black Belt by Archibald John Motley Jr., Black American Harlem Renaissance painter 1891-1981.
©2013 by Arvin da Braga
1982 Playboy Jazz Festival at the Hollywood Bowl
Weather Report’s Birdland accompanied by the Manhattan Transfer
Music to keep alive the child-ego state! Create! Fly!
Wim is a really great artist and a sublime human being; met him briefly back in 1994 in New York City at home of then lover of mine, Manhattan cabaret singer, Frans Bloem.
Here’s the link to Wim’s stellar art:
Here’s a brief clip of Wim on being awarded the 2011 BP Portrait Award. Bravo:
Acrylic on wooden container lid…found object 22”X22”
Merlin passed 24 years ago on November 18, 1989.
As a celebration of Merlin’s inordinately ennobled life, I have created a new category entitled: Dreams of Merlin. The dreams in that category centrally feature Merlin – a most magical elfin fellow.
Merlin and I met, four years after I first dreamt of him, on Friday, October 1, 1982 in New York City.
Merlin was the godson of the actor, Lorne Greene, he loved: parrots, Glenn Gould, J. S. Bach, bandannas, musicals, magic, patchouli, reading several books simultaneously; one of which he concluded each night at bedtime at which point, he would share the book’s contents. Merlin was a great raconteur, a devastatingly funny mimic which most persons who knew him did not know as he only ever engaged this aspect of his persona at bedtime, after reading, he loved cats, wore a cowl while smoking weed and conceptualising how to direct a new play and pacing about our home at 20 Amelia Street, Toronto – which alas you can now see on Google street view – incidentally the black wrought iron fencing in the photo was begun by the neighbour at 18 Amelia Street – a fashion designer of note who was a snob and bore who took to sending us registered letters complaining about our ‘wild’ cats using his maple tree as a scratching post. Though Merlin’s registered responses were wickedly funny and penned by Julio, the only male of our four cats, as my bullshit threshold is readily engaged, I went one better and instead of mailing off the fourth registered response from Julio – hysterical though it was – and got a five-pound bag of catnip from the Menagerie Pet Store around the Corner on Parliament Street – it is still there – and proceeded to sprinkle it on said snobbish bore’s lawn over several days… as intended, our then three cats and several in the neighbourhood fast-descended on his lawn wigging out, however, sure enough, they began pooping in the garden and on the lawn… soon the sprinkler system of said snobbish bore’s lawn and garden was kept on all hours of the day to ward off this sudden descent of cats to the prized lawn… alas, the sod was eventually replaced and a silly little fence erected, as though that could ever deter cats… of course, over time, the neighbours along the block would get matching black wrought iron fencing because, well, that’s what genteel burghers will do.
Merlin died on his mother’s birthday and she, in turn, would die on the anniversary of the day we met – 22 years after his passing.
Merlin was/is a seven level mature scholar soul; and the life when we were lovers for seven years in fin-de-siècle New York City and Toronto was his sixth life at 7 level mature and our 43rd life together. That high incidence of lives passed together was because Merlin and I were/are Task Companions; it also explains why the dreams shared herein of Merlin and me are possessed of such heightened telepathy, love, communion and lucid realism.
Of course, our disparate races meant that some persons in Merlin’s life thought it unacceptable that Merlin should be with me; indeed, one such person – nothing more than a lost village idiot and a clown to boot – as Merlin privately referred to her – made it her campaign to evict me from Merlin’s life… indeed, those who know nothing of love can act no better and they certainly know nothing of dreams; for dreams are the fruits that a great love affair bears, which is readily validated by the dreams of Merlin and me herein, long after his passing.
Of course, as disparate as Merlin and I may have seemed we were more bonded than was readily discernible. Apart from the essence bond of being task companions – à la Michael Teachings – Merlin and I were also bonded in a way which he had hinted at. It was a year prior to his passing and I had been to my father, Isadore’s, for dinner. On my return home that evening, I brought a copy of a famous family portrait of my mother, Harella, and her family. Merlin was quite taken by my maternal grandfather’s bushy browed, moustachioed handsomeness and declared,
“Are you sure about that Portuguese blood? He looks just like a darker version of Yitzhak Shamir.”
Long years after Merlin’s passing and just after Isadore’s, in 2008, I would learn that the Portuguese blood to which my family is connected is by way of both Harella’s paternal grandparents having been of Sephardi heritage. Nevis, on which I was born, grew one staple, cotton, during colonial times. That cotton was prized and the Sephardi were a small colony from not Portugal but Brazil. Harella’s paternal grandmother was a Levine though it was mispronounced over time as Lavigne, after all, St. Kitts next-door was both French and English with some French families still present, and the tiny Sephardi community were referred to as the Portuguese. Harella’s paternal grandfather, Claude Sr., was of mixed blood his paternal grandfather having been Sephardi who parented children with a freed slave of African descent… one peculiarity of Nevis – which Canadians are wont to mispronounce as nay-vis or névis it is more appropriately knee-vis – is that it is the only Island in the Caribbean where slaves were allowed to own land and will it to their descendants thus making them freed slaves – odd peculiarity that – and it was a condition of the ‘Portuguese’ electing to relocate there and trade the prized Nevis cotton to both London and New York City. So, Merlin’s suspicions and intuition, as ever, proved spot-on.
Here’s to life. Here’s to lovers. Here’s to Merlin, a lover like no other: magical, charming, witty, sexy as all hell with the largest most hypnotically beautiful eyes, dream shaman, dream companion, über-sapiosexual… ©2013 Arvin da Braga.
Whales and dolphin conservation, Gentlemen Scholar. Please click on link and watch this visionary video