https://www.youtube.com/watch?v=qIjLiVo5tFA
https://omdarutv.blogspot.com/2025/07/cassiopeia-project-channeling-chekhov.html
https://blog.cassiopeia.center/W-odHPedbUf
Channeling Chekhov - Cassiopeia.epub
25 Life Rules from Chekhov's Spirit ( Genspark AI )
ON FORGIVENESS AND RELATIONSHIPS
1. Forgive your parents and loved ones
"I forgave him... Because I understood that he did everything out of Love, in the understanding that he could have. He could not have had any other Love, any other understanding"
2. Develop patience as a virtue
"Perseverance, the ability to always find your way despite the resistance of the environment, patience and the ability to forgive"
3. Never judge others for their beliefs
"I urge you to never judge another for his beliefs, even if they seem wrong to you. By judging another, you immediately rise to his level, to his level of awareness"
ON SPIRITUAL DEVELOPMENT
4. Your main task is developing unconditional love
"My spiritual task was to further raise my spiritual level by developing unconditional Love, harmony and peacemaking in myself"
5. Remember the immortality of the spirit
"Only the body gets tired, Igor. You know that the Spirit can never get tired"
6. Recognize the divinity within yourself
"Each of you has not only a body... This spiritual part is an integral part of the Source of the entire Universe. No matter how deeply you bury the Light of the Creator of the Universe in yourself, it is impossible to destroy it"
ON CHILDREN AND UPBRINGING
7. Give children freedom of expression
"If you have children, please give them freedom, freedom of expression. Despite their responsibilities, be sure to give them freedom of creativity, freedom to express their opinion, even if it does not agree with yours"
8. Education is personality development
"This is very important for the development of their personality and for their future adult independent life"
ON FEARS
9. Understand the law of fear attraction
"There is a law in the Universe: what you fear, you go to, what you fear, you order. The Universe reads your emotions, and your fears are read as desire"
10. Accept death as liberation
"The body will definitely die - this is a law created by God... From the position of the Spirit, death is liberation from one position to transition to another"
ON CREATIVITY AND CALLING
11. Write for the soul, not just for money
"I wrote for the Soul, for pleasure. If you don't have a burning Soul and don't want to convey your joy, your Light, your experience to people - nothing will work out"
12. Accept initial difficulties in any endeavor
"Until you know how, it will be difficult for you, and you will make mistakes. You need to treat this with understanding, because it cannot be otherwise"
13. Start small
"Start with small things, as I did in childhood - simply notes in your personal diary. Write about yourself, about a cup of coffee... Do this daily"
ON FAITH AND DOUBTS
14. Maintain faith despite doubts
"Deep down I always believed in God as the Source of the Universe... Yes, there were periods of doubt. But even strong believers sometimes have doubts in life"
15. Distinguish between external religiosity and true faith
"I was simply overfed with religion... But deep down I always believed in God as the source of the Universe, as the One who created everything"
ON LOVE AND RELATIONSHIPS
16. Seek genuine spiritual love
"This is real, genuine, family Love - it is more spiritual. When there is substitution, when the physical comes to the forefront - this kills the spiritual very quickly"
17. Don't replace love with quantity of attention
"I replaced real love with attention from many women... The main thing is not the number of women, but how much Light you radiate into this world"
ON SELF-KNOWLEDGE
18. Believe in yourself and love yourself
"If you love yourself, and believe in yourself, and go towards your goal despite any obstacles, you will achieve more than you dream"
19. Develop openness of perception
"For contact, openness is important. If there is no complete trust, the field will be closed, I will not be able to establish contact"
ON HEALTH AND BODY
20. Treat your body with love
"Harmonious, loving attitude towards your body... Only with this will your body physically live to the term you have appointed"
21. Forgiveness as a path to healing
"Forgive your mother, father, all the women who were in your life, forgive yourself"
ON ART AND CALLING
22. Content is more important than form
"The main thing is not the roles you play, but the content of your Spiritual heart, which will be important for you after leaving this body"
23. Follow the voice of your heart in creativity
"Do only as you feel, listen to your Heart"
24. See evolution, not degradation
"I don't see degradation, it's just development. Where it will turn next depends only on you"
ON LIFE WISDOM
25. Remember your uniqueness and purpose
"I am unique. But you are also unique - everyone can achieve much if they want to... Each contribution is unique, each contribution helps other Souls walk this path"
These rules are compiled based on direct statements from Chekhov's spirit during the mediumistic session at Bryusov Hall on December 29, 2024, conducted by the "Cassiopeia" project.
00:09 Goals and objectives of the contact.
Igor: Why do we need this – these mediumistic sessions with the Spirits of outstanding personalities, and in our case – mainly figures of fine literature? Not only and not even so much for the sake of idle curiosity, although that also exists. Some details, nuances of personal life, well, why not ask, if there is such an opportunity.
But in reality, much more important, and this is really, in my opinion, an essential aspect of this whole matter, is the opportunity to learn, as they say, first-hand, the opinion of the Spirit after disembodiment regarding the circumstances of its earthly life. After all, it is no secret that when after death the Soul returns there, to the heavenly abode, it has the opportunity to analyze everything that happened to it during its incarnation on Earth - all the cause-and-effect relationships. The true nature of all events, circumstances - all this is revealed, and the Spirit realizes and understands in a different way what happened to it in earthly life.
And this is a unique experience, because when a person dies, we do not have the opportunity to discuss with him what he understood and learned. And we need this so much, we need to understand, because many of us live through the same circumstances, the same events and often experience bewilderment, suffering. And this spiritual experience, which the Spirits who have already left us can convey to us, has an extremely important spiritual meaning for us.
Today, as you know – it is written on the stage, and you bought a ticket – we meet Anton Pavlovich, the Spirit of the one we knew in life as Anton Pavlovich Chekhov. He is already here and has already ordered to congratulate you on the coming New Year. But I ask for a few more minutes of your time.
Traditionally, before we begin the main part of our program, we show a specially compiled short video film. Just to remind us of some of the main stages of life, biography, so that it would be easier for us to somehow enter the field of this person, his earthly life, to more accurately navigate the course of the conversation, which, I hope, will be incredibly interesting. So now pay attention to the screen, and then we will continue.
02:50 Video about Anton Chekhov with a brief introduction.
(Voice of the presenter off-screen) In January 1860 in Taganrog, in the family of the second guild merchant Pavel Chekhov, a third son was born, baptized Anton. Later, two more sons and a daughter appeared in the family.
The head of the family, although religious, was a rude and ignorant tyrant, often using his fists and rods. The children in the Chekhov family got up at 5 a.m., went to sing in the church choir, and after school they worked in their father's shop.
Chekhov's first literary experiences date back to his time at the Taganrog Gymnasium. There, from his teacher of the Law of God, Archpriest Fyodor Pokrovsky, he received the nickname Antosha Chekhonte, which would later become one of the writer's first literary pseudonyms.
In 1874, the father's business affairs completely collapsed. Fleeing from creditors, the head of the family leaves for Moscow, where the whole family moves after 2 years, except for Anton. The sixteen-year-old high school student remains in Taganrog alone to finish his studies for the sake of his certificate. On behalf of his father, he tries to get money from debtors, looks for lodgers, and takes household utensils to the market.
After receiving his certificate, Anton entered the Moscow University, Faculty of Medicine. According to his parents, the profession of a doctor would provide a stable income. During his studies, Chekhov sent stories and humorous pieces to the editorial offices of entertainment magazines, the publication of which under various funny pseudonyms was an important source of income.
At the age of 24, after graduating from university, Anton Pavlovich began working as a district doctor at the Chikinskaya hospital in the city of Voskresensk, where his brother Ivan received a teaching position. Later, he began private medical practice.
In 1885, after the publication of the story "The Huntsman" in the authoritative "Petersburg newspaper", the respected writer Grigorovich wrote a letter to Chekhov in which he noted the talent of the young author and urged him to leave the humorous genre for more serious topics. Chekhov listened to the advice of his older colleague.
For the collection of stories "In the Twilight", published under his own name by Suvorin in 1887, Chekhov received the Pushkin Prize of the Academy of Sciences. From then on, medical practice faded into the background, and literature became the main thing. A year later, the publication of the story "Steppe" in the respectable magazine "Severny Vestnik" puts Chekhov in the first rank of modern writers. All of reading Russia began to follow his publications.
Despite his great success with women, Chekhov avoids family ties and regularly visits brothels, having numerous affairs. These relationships serve as important material for creativity. Intimate details of his personal life are used to create vivid characters and conflicts. In 1901, three years before his death, Chekhov finally marries. His chosen one is the actress Olga Knipper, whom he met during rehearsals of "The Seagull" at the Moscow Art Theatre.
The triumph of the Moscow Art Theatre production in the year of the theatre's foundation in 1898 makes Chekhov the number one playwright, and the Nemirovich-Danchenko production itself a theatrical legend. It is thanks to Chekhov's innovative dramaturgy that the founders of the Moscow Art Theatre manage to establish the principles of the new theatre, which form the basis of world theatre art in the 20th century.
Chekhov suffered from pulmonary tuberculosis almost all his life, the first signs of which he felt at the age of ten. Despite his poor health, in 1890 Chekhov traveled across the country to the Far East. The goal was Sakhalin Island in the Sea of Japan, where the writer intended to study the life of convicts.
The long and exhausting journey plays a fatal role, finally undermining the writer's health. An attempt to improve his health in the German Badenweiler ends in nothing. On July 15, 1904, at the age of 44, the great Russian writer and playwright dies, having drained a glass of champagne before his death. He is buried at the Novodevichy Cemetery in Moscow.
08:34 Introduction of participants.
Igor: Dear friends, now I invite to the stage a universal contactee, the leader of the Cassiopeia community – Irina Podzorova.
Irina: Hello, dear friends! I greet you. I congratulate you all on the upcoming New Year. Thank you for visiting our event. I convey greetings from all the employees and participants of the Cassiopeia project. Hello everyone!
This session is also special for me, as we all studied Anton Pavlovich Chekhov's stories at school, including me. I really loved his stories, I want to say, and I read them all the time as a child. A very interesting Soul, a very interesting Spirit now. He is in the Spiritual World, at the moment he is not embodied. Today is a very interesting topic, for which I thank Igor, as he is a very interesting person.
So, we are ready to begin. He is already here, greeting you and thanking you for your attention to his person.
Igor: Anton Pavlovich, thank you very much for agreeing to talk to us! With your permission, we will begin asking questions.
Irina (Chekhov's Spirit): Yes, of course.
10:14 Chekhov's spirit on the tasks of his incarnation and spiritual levels.
Igor: Our first block of questions is traditional. Please tell me, from what spiritual level did you incarnate into Anton Pavlovich?
Irina (Chekhov's Spirit): I greet everyone! I am glad to see everyone here. I have incarnated into Anton's body (they usually don't call people by their patronymics) from the 18th level.
Igor: Oh, this is an angelic level!
Irina: Now I will explain, if anyone does not know. He is already speaking on the scale of spiritual levels of the Interstellar Union, since he is looking through my perception, and I know this scale. The 18th level is the level on the scale from 1 to 24. And the 18th level there is angelic. That is, on this scale at the moment of incarnation he was at the level of Guardian Angels.
Igor: Let me ask you right away: where was your previous incarnation, which allowed you to go to this level?
Irina (Chekhov's Spirit): Previous incarnation: I was incarnated as a man, but not on planet Earth.
Irina (Chekhov's Spirit): I was incarnated as a man on a planet that in the language of the contactee is called Disaru.
Igor: Ah! These are also us, earthlings.
Irina (Chekhov's Spirit): Yes, this is where Saint-Germain lives now.
Igor: And what were you doing there?
Irina: It shows that Saint Germain was already embodied there. And Anton Pavlovich was embodied there.
(Chekhov's Spirit) I was there incarnated as a man who was engaged in a science that you call art history, or, in your opinion, the Science of Imagery. In the language of the contactee, it is called the "Science of Imagery". I studied various literary mythological, artistic, architectural and other historical artifacts. And I studied the impact on people's consciousness with their help. Yes, in fact, people live on Disaru just like you and me (he shows that he includes himself in the number "you and me", because his last incarnation was on Earth).
Igor: And for what purpose, with what spiritual tasks did you incarnate on Earth?
Irina (Chekhov's Spirit): My spiritual task was to further raise my spiritual level by developing unconditional Love, harmony and peacemaking in myself.
Igor: So, did you manage to solve these problems? What level did you reach?
Irina (Chekhov's Spirit): Yes, I succeeded, I went to the 21st level.
Igor: Wow! Let's congratulate Anton Pavlovich! Not everyone manages to live their life so well. It's nice, really nice, of course.
Irina: He says that he is very happy and feels your emotions that you congratulate him and send him the Light of Love and joy.
Igor: Honestly, it seems to me that no one doubted that you were an Angel, Anton Pavlovich.
Now he asks me to explain a little, if anyone doesn’t know. Again, according to the Interstellar Union scale, the 21st level is already the level of the Guide Angels. That is, if the task of the Guardian Angel is to protect (if it is a non-embodied Spirit) any embodied Spirit from any mistakes and attacks of various evil Spirits, evil entities, then the task of the Guide Angel is to meet the Spirits that have left the incarnation, to see them back to the Spiritual World. And also to see the Spirits off to incarnations and help them connect with the body.
This is a very responsible task. And in fact, we are all familiar with the Spirit Guides: they helped us to incarnate in our bodies, and they will meet us after incarnation.
Igor: So you're busy there now? You're working - not lounging around.
Irina: “We are all busy there,” he says.
Igor: Wait, but can you go on vacation? Or do you not have such a desire – to rest, to dig into yourself?
Irina (Chekhov's Spirit): Only the body gets tired, Igor. You know that the Spirit can never get tired.
Igor: I was just joking. Thank you very much!
15:04 Chekhov's spirit about his father.
Igor: Let us move on to a block of questions related to your family and childhood.
Irina (Chekhov's Spirit): Good.
Igor: Of course, we can't ignore the figure of your father. You wrote that "I had no childhood as a child," referring to the rather strict rules established in the family by your father. You admitted to Nemirovich-Danchenko that you could never forgive your father for spanking you as a child.
My question is this. When you incarnated and together with the Angel-Consultants determined the main circumstances of your life, you, as I understand, also made a choice regarding your parents. In other words, you understood, so to speak, the main qualities and properties of your father and the circumstances that would accompany you in life. I want to know what qualities, necessary for your life task, should have developed in little Anton under such pressure?
Irina (Chekhov's Spirit): Perseverance, the ability to always find your way, despite the resistance of the environment, patience and the ability to forgive.
Igor: Tell me, please, did you finally forgive your father?
You reminded me of one of my many letters: I corresponded a lot with different people, a lot, I had a whole library of letters. I hope that my followers have collected a library of these letters.
Igor: That’s right – a complete collection of works.
Irina (Chekhov's Spirit): Of course, I doubt that they found everything, but I know that I corresponded a lot. I really loved communication - both oral and written, I loved receiving letters, reading them, and I loved writing myself. And I was quite frank in my letters. I did this not to show myself off, but to better understand myself.
And that letter you quoted reminded me of the state I was in at the time regarding my resentment towards my father. I want to say that I really felt bewilderment, resentment, and rejection at the time I wrote it. I had many questions for my father regarding my childhood – not only regarding his treatment of me, but also his treatment of my mother and my brothers and sister.
However, at that moment I still did not fully understand and accept my father, his role in my life, and therefore I could not fully accept and activate my male part, the part that entered me along with the genes, along with my father’s blood.
But after this letter, when I had lived through a lot and experienced many feelings, I naturally forgave him. Why did I forgive him? Because I understood that when he punished me, when he forced me to work, as I then considered, in his shop (I didn’t even call it ours), I forgot that I also lived at the expense of this shop at the time when I was offended.
And then, when I had the experience of my own life, of providing for myself, I understood it and was so grateful to him that he behaved exactly like that. I understood that he did all this out of Love, only in the understanding that he had. He could not have had any other Love, any other understanding at that moment. Why couldn’t he? Because he had prepared himself with his entire series of incarnations, including the current one, for this very state of the Heart. Therefore, there was nothing to be offended by.
Igor: You say that you understood and forgave him. At what point in your life did this happen? Or was it a gradual process, and it is impossible to single it out?
Irina (Chekhov's Spirit): It was a gradual process, but by the time I left the incarnation I had already forgiven him.
Igor: I understand, thank you very much.
20:57 Chekhov's spirit on its ancestral tasks.
Igor: Do I understand correctly that with the Spirits who incarnated in your brothers, there was also a preliminary agreement in the Spiritual world that you would be incarnated in one family?
Irina (Chekhov's Spirit): We, you could say, knew about each other.
Igor: Were you aware? Were there any general tasks you had to complete?
Irina (Chekhov's Spirit): General tasks related only to the tasks of the family.
Igor: Is there any way to identify them?
Irina : What were the tasks of the family? Yes, I understood. He shows art.
(The Spirit of Chekhov) Creating creative energy in our ancestral egregor, in our family, so that subsequent generations of our family would receive a great charge of art (shows that not only he was engaged in literature, but other children, his brothers, were also engaged in art).
Igor: Yes, yes, both artists and writers. And have you met them there, in the Spiritual World?
Irina (Chekhov's Spirit): Only with Nikolai.
Igor: Only with Nikolai. The one who was an artist, right?
Igor: Do I understand correctly that you had the closest relationship with Nikolai?
Irina (Chekhov's Spirit): That's right. At that time, we had quite a close relationship. It was precisely with his Spirit that we had met before in several incarnations.
22:29 Chekhov's spirit about previous incarnations with his brother Nikolai.
Irina (Chekhov's Spirit): I have lived 336 incarnations in total. This is an average number, I will tell you - sometimes there are fewer, sometimes more. That is how many there are in this manvantara, in this era.
As I already said, the previous one was on Disaru. And before Disaru I was incarnated on Earth, but not in famous people. I will name the countries. I was incarnated on the territory of Thailand, in one of the tribes (shows the 11th century, incarnation on the territory of Thailand, it was one of the tribes).
(The Spirit of Chekhov) I was also embodied there as a man who was engaged in treatment, healing people through herbs, through spells (something like a shaman).
(Chekhov's Spirit) And earlier I was incarnated on the territory of Ancient Egypt (shows that this was before the birth of Christ). Yes, 3000 years before the birth of Christ I was incarnated on the territory of Ancient Egypt as a woman who was a priestess of the goddess of the Moon (shows her in the temple).
(Chekhov's Spirit) Two incarnations - in Egypt and in the incarnation that was after (it was on a planet not in the Milky Way galaxy, you don't know it, the contactee doesn't know, but it was a physical planet). In these two incarnations I met with Nikolai's Spirit, and we interacted closely there.
Igor: And relatives recalled that on the eve of his death you woke up in a cold sweat and told me a dream in which Nikolai came to your bed, kissed you on the head and said: "You sleep, and I have to go. We will not see each other again." And on that day the news came that he had died.
Irina (Chekhov's Spirit): It was not a dream, it was contact with his Spirit, with what you now call the “Higher Self”, with his non-embodied part of the Spirit.
Igor: But at that moment you didn’t think in such categories?
Irina: He says he understands it now.
Irina: Not right now, but after leaving the body.
25:07 Perception by the Spirit of the events of incarnations after disembodiment.
Irina (Chekhov's Spirit): The thing is that after leaving the incarnation, after 40 days, a connection of the personality occurs, a connection of the Soul with the Spirit, with the non-incarnate part of the Spirit. This gives a huge expansion of one's own experience, and this gives a revision of all one's beliefs, a revision of all memory, an analysis of one's entire life. And after this, the Spirit again becomes whole in itself, it becomes what it was. It feels the way it felt before the separation of the Soul for incarnation.
And this personality, it fades into the background, because the Spirit acquires the memory of all its incarnations. And the personality of the Spirit is something completely different for you, for your personalities: it is much larger, much bigger, much richer. Therefore, of course, I can now give answers to all questions only in the context of my own personal experience, gained after disembodiment.
Igor: But we appreciate it. That is our main goal – to find out your opinion.
Irina : Yes, at the time when he had this dream, he, of course, did not perceive it that way. He did not know such categories, he did not express himself that way. They came to him after disembodiment, that is natural.
27:05 Chekhov's spirit about his prophetic gift.
Igor: In general, relatives say that you literally prophesied in your sleep, that is, muttered something like that. At first they laughed, then wrote it down, and it turned out over time that these strange, sometimes incoherent words actually turned out to be literally prophetic. Here are examples of how you told in a dream about an upcoming meeting with Maxim Gorky, which took place only several years later. Or, for example, described Olga Knipper, your fiancée, whom you did not yet know at that time. Or there was this line: "The child, the child will be dead." As we know, later, in 1902, there was a miscarriage.
Irina: He shows that he also felt his death, the death of his physical body, his exit from incarnation, when and how it would be. And he felt many other things too: events in his life, including those connected with books, with the reaction of readers, with meetings with friends. There were many predictions.
(Chekhov's Spirit) But in fact, I don't see anything strange in this. You want to ask the question, for what reason did this happen?
Igor: Yes, what kind of mechanism worked?
Irina (Chekhov's Spirit): I understood the question.
Dear friends, there is absolutely nothing surprising in this. Each of you, I think, has seen prophetic dreams, felt something. What you call intuition, each of you has. Simply due to contact with my Spirit, with the Higher Self, which I developed since childhood with the help of my curators, mentors who worked with me in dreams and in reality, I had a heightened sense of intuition - what is now called the gift of a medium.
I have had it since childhood, since childhood I could perceive information from subtle planes. Yes, when I was a child and when I was a teenager, I felt it more acutely. And when I became an adult, at times a wave of skepticism would seize me and carry me away from this feeling, but then some prophetic dream, some sign of fate, some meeting, book, conversation would return me to the field of spiritual service.
Irina (Chekhov's Spirit): And there is nothing surprising in this, since each of you can feel exactly the same, and even more accurately. You will ask: "Why?" A very simple answer.
Each of you is not only a body. Remember this. The body is the most material, the densest, the roughest material part of you. But besides the body, you also have a spiritual part. This spiritual part is an integral part of the Source of the entire Universe. He has Omniscience, He has Omnipotence, He has Omnipresence, He has All-Love. This is in each of you. No matter how deeply you bury the Light of the Creator of the Universe in yourself, it is impossible to destroy it, just as it is impossible to extinguish the Sun by closing the curtains in the window.
Igor: Thank you, great answer.
31:14 Chekhov's Spirit on the rite of exorcism in childhood.
Igor: Anton Pavlovich, I dug up a funny episode from your childhood. Now it seems funny, perhaps curious, but then, perhaps, you didn't have such fun. In short, there is information that your father ordered an exorcism for you in the church, seriously believing that a demon had entered you. Do you remember this episode?
Irina (Chekhov's Spirit): Yes, that was true. He was a believer, an Orthodox Christian. In fact, as I later realized, he also only wanted the best for me, because he was really scared for me, since an incident had happened that he could not explain. It was with me that an incident happened that he could not explain differently from the point of view of his knowledge and ideas about the world. Such were his beliefs.
Before I tell you this story, I urge you to never judge another for his beliefs, even if they seem wrong to you. By judging another, you immediately rise to his level, to his level of awareness. And by doing so, you do not help either him or yourself (this is already from the point of view of the 21st level Angel).
But then, of course, I didn't think so. Of course, I was overwhelmed by emotions. I want to say that when you are in the body, emotions are felt differently. They are brighter, more powerful, they are able to drown out the mind, they are able to drown out the voice of the Spirit, intuition. To drown out means to fill the entire Soul, and at that moment a person will have nothing left but emotions.
Because you have a body that reacts to your emotions by releasing bodily juices, which are now called hormones. And this has an effect through the brain on the Soul, on that spiritual part that is connected to the body through your ethereal structures. And because of this, it is very difficult for you, not only for you specifically, but for any beings incarnated in physical bodies, to move towards spiritual development, because it is easy to get lost. But this is what makes incarnation valuable, that, overcoming these difficulties, if you still, despite the obstacles, these emotions and hormones, try to move towards the Light, then the body ultimately helps you in this even more.
So, why did he want to do an exorcism? The thing is, he owned a shop (shows), he owned a small shop that sold tea, coffee, sugar, sweets. It was called a "shop". In fact, it was a small shop, my father was its owner and was very proud of it. Why was he proud of it? Because he came from serf peasants. Naturally, if he was once owned. It so happened that he was bought out of slavery, because serf peasants, they were equal to slaves, they could not go anywhere on their own. They could be used as labor, for example, horses.
Accordingly, having come out of this state and having gained the opportunity to have some property of his own, he valued it very much. You can certainly understand him. It is very human that if I did not have it, and now I have it, then I am afraid of losing it. And so there was this fear in him, a very strong fear. Unfortunately, because of it he went to the 6th level. I also went down to him after my disembodiment and talked with him.
There was a great fear, which already gave rise to anger. And because of this fear, he often could not even (shows) leave the shop closed at night, so that someone would not guard it. It always seemed to him that someone would rob it. He had fears. And who could guard it? He could only send us, his sons. And with these fears, he somehow really attracted this incident to himself (shows himself as a teenager).
I was about 15, that is, a teenager. I had no older or younger brothers with me, I was alone in this shop. And suddenly a robber burst in (shows how the door is pushed open, the robber enters: my father attracted this crime with his fears).
Why did he attract? There is a law in the Universe: what you fear, you go to, what you fear, you order. So the Universe reads your emotions, and your fears are read as desire, do you understand? But he did not understand this. So think about your fears.
And so it happened that I was left alone: an unarmed boy with a grown man who was quite tall, of a solid build, and also with a knife in his hands. What would you have done in my place? Run away? But I could not run away, because I knew that if I left the bench, I would be severely flogged, so that I would not be able to sit in a natural place for sitting for a week. They flogged me with rods, and soaked them in salt water. Then they also made me kneel in front of the icons on coarse salt. It was very painful. And they said that this would help me appreciate what they were doing and obey them (my mother supported my father in this).
I knew perfectly well that I couldn’t run away. It would be better not to come home then, it would be better to let them kill me. And I prayed in my mind at that moment: “Christ, protect me!” I want to say right away that I often turned to God, turned to the Angels, prayed, I sang in church, I knew the prayers. And I prayed: “Christ, protect me!” To myself. And I had this thought: “Gather all your strength” (shows images of how it all happened there).
An inner voice told me: “Gather all your strength, firmly grab the hand holding the knife, don’t let go and kick him below the knee. Hit him with all your might!” “Boy, just don’t let go of the hand!” – that’s the thought that came to me.
I did so. He roared like a wounded ox, it hurt so much that he stumbled and fell. I took the knife from him because it fell out when he fell. I sat on top of him and quickly tied his hands with a rope that was lying on one of the boxes. He could no longer do anything. And after that I ran out into the street, shouted for people. People came running, grabbed him, took him to the police station.
I told my father everything, and people confirmed it. I thought he would praise me now, that he would say: “Well done, you defended our property! Here’s a treat for you.” Yes, I was cruelly mistaken about my own father then! It was very painful, but he did not appreciate my feat, the risk I was exposing my life to. He said: “You couldn’t do it yourself. Who helped you? Confess!” I said that I prayed to Christ and heard an inner voice. I told him everything as it was. He got scared and said: “That voice did not belong to Christ, because we are not worthy of Christ speaking to us. Even if Christ had told you, He would never have ordered you to beat a person. So it was someone who pretended to be Him” (shows a picture of him standing in front of his father, head down, and his father scolding him for this).
"So, it could be the one who pretended to be him." And who could pretend to be Christ and lie, naming His name, introducing himself as Him? Can you figure out for yourself who is the father of lies? We knew the Bible very well, we knew many chapters by heart. The father of lies is the devil.
And he took me to the priest and explained everything to him. The priest talked to me (shows). He talked to me so kindly, asked what it was, what I felt, what the voice was like, whether I was afraid or not. He asked a lot of questions. I told him everything, and he hugged me, stroked my head and said: “The Holy Spirit helped you, Christ himself helped you. It was He who called the Angel to protect you. Forgive your father, he does not know what he is doing, he is in ignorance.” I cried, he hugged me and said: “Christ is always with you, and you will go far in the future.”
Then he talked to my father. I was in the next room of this priest's house, and I only heard fragments of what he was saying - that "there is no demon in him, and be kinder to him." How he scolded him. And my father listened to the priest: he was afraid to anger God, so as not to sin, and for a short time he treated me a little better after that.
44:55 Chekhov's spirit about his faith in God and the church.
Igor: Tell me, please, later, as far as I understand, at least such external religiosity you avoided, did not go to church. In general, how did your relationship with the church develop? Did you believe? Did you keep this faith in God?
Irina (Chekhov's Spirit): You see, Igor, I was simply overfed with religion a little. Very harshly and sometimes rudely, and they really forced me to go to church, they really insisted on observing all the rules, including fasts. We had to walk in a line during Lent, under no circumstances laugh, read numerous prayers for many hours. This is very difficult for children. And I began to perceive that the word "God" is associated with the church, which oppressed me with these rules since childhood.
I didn't understand then that my parents were going a little too far. Not even a little. But deep down I always believed in God as the source of the Universe, as the One who created everything. Yes, I had periods, naturally (you'll say it now), when I wrote to someone, for example: "There is no God." Yes, I don't deny these letters, but deep down I always believed. Sometimes I had doubts. But you must agree, dear friends, that even a strong believer can have doubts at one time or another in his life.
46:55 Chekhov's spirit about the scar on his forehead under his hair.
Igor: In the passport issued to you in 1879, in the section "Special features" it was written: "On the forehead under the hair, a scar." Question: what kind of scar? Where did it come from?
Irina: It shows that it was my father who hit me in childhood, when he was still beating me. He could.
Cannot specify at what specific moment, because there were many such episodes. Father could hit and throw objects when angry, and shows that this was from early childhood.
Igor: I understand, thank you.
47:45 The Spirit of Chekhov on the importance of children's freedom of expression.
Igor: It is known that you stayed in the gymnasium twice for a second year: in the third and fifth grades. What was the reason?
Irina (Chekhov's Spirit): Working in this shop sometimes took more time than studying, because my father demanded that we sell there, clean. Even get up early in the morning, before school, and stand by the door and call out to customers. If there were no customers, he could punish us in the way I described.
Irina (Chekhov's Spirit): Yes, sometimes it was very difficult to combine this, because a child cannot always get his bearings and understand how to act correctly. Especially when adults are pressuring him from above. Therefore, I ask you, if you have children, please give them freedom, freedom of expression. Despite their responsibilities, be sure to give them freedom of creativity, freedom to express their opinion, even if it does not agree with yours. This is very important for the development of their personality and for their future adult independent life.
Igor: Thank you very much, we will try to listen.
49:06 The Spirit of Chekhov on the beginning of his writing career.
Igor: Let's move on to questions related to literary activity. In a letter to your sister Maria Pavlovna, you wrote: "How good it is that no one knows how I began to write." This, as I understand it, is about the period from 16 to 18 years old, when you were practically alone, without a family, in Taganrog, right?
Irina (Chekhov's Spirit): I started earlier, when my father was still around (shows that he wrote some short stories, stories simply in his personal diary).
What do you mean, it was difficult for me? You see, the thing is: when a person, any person, starts a new business, it will be difficult for him. It was difficult for me to express my thoughts, it was difficult for me to continue the story. But why did I strive for this? Because my Spirit, my Higher Self, my intuition always sent me thoughts about expressing my experience, my impressions on paper for other people. This has been the case since childhood (shows).
Perhaps you had such a desire to create, to create, I can say, with a pen, and now probably with a pen or even a computer mouse? However, the essence is the same - to create something with words. It's like an artist painting a picture with a brush. If there are artists among you, you understand perfectly well what I'm talking about. Remember how you painted your first picture? Or the second? And then how the twentieth? If you do it systematically. But if you haven't - well, remember a more mundane activity, it also requires skill and ability.
Here are the girls here now. Remember yourself as a little girl and your first potato that you peeled. Was it easy for you? And then, in 5 years, in 10 or now – the same? It is clear that writing is a slightly different skill, but you need to get used to it and inscribe this habit into your brain in exactly the same way.
Even Irina, a contactee (I am reading her information now), did not always contact various individuals as she does now. She also had her own difficulties that she went through: she transmitted information more slowly, translated less accurately. She had this too. All contactees go through this.
This is a natural stage in the formation of specialists in some field. Until you know how, it will be difficult for you, and you will make mistakes. You need to treat this with understanding, because it cannot be otherwise.
Even during your lifetime, you were pestered with these very questions about your first publication. You always obscured this issue. But, nevertheless, your researchers, of course, are now trying to reconstruct bit by bit and collect some of your first little poems or some scenes, humorous pieces that you published in the first, so to speak, years of your literary activity.
I take it you don't welcome this research fervor? They say that at least we've lost a whole volume of your early work.
Irina (Chekhov's Spirit): I understand what you're asking about. The thing is that my first few sketches were never published anywhere (shows that this is just for myself).
Do you understand the word "family newspaper"?
Irina (Chekhov's Spirit): It's like this. We had a lot of children, and we kept a certain (like a wall newspaper at school shows).
It wasn’t hanging on the wall, but there was a kind of journal that we compiled every week (he shows that it was for his parents).
There, someone was drawing something, someone was composing a poem, someone was writing a note. And I wrote short stories about our family, about our family life, some even like jokes, or something – very funny ones. I really loved humor.
Irina (Chekhov's Spirit): Many perceive me as sad, melancholic. In fact, no, I was quite a cheerful, lively person (shows).
Igor: It is officially believed that your first publication was “Letter to a Learned Neighbor” in the Petersburg Dragonfly in March 1880.
Irina : He says that before that there was, “I don’t know, has it survived or not.” He shows some drawing and a short story called “The Bell.”
Irina: Is this a story or a magazine?
(Chekhov's Spirit) No, it's a story. It was about a bell ringer in a bell tower: how he climbed up there, rang, what he felt. That was the story.
Igor: And was it published under a pseudonym?
Irina (Chekhov's Spirit): Yes, because I was initially embarrassed to sign my name. I didn't want wide fame, so to speak.
Igor: In which magazine or newspaper was “Kolokol” published?
Irina: In some small newspaper. Now. What was it called? Something local – “Taganrog News”.
Irina: Yes, some local newspaper, it was published in a very small circulation.
Igor: And have you already received a fee for this publication?
Irina (Chekhov's Spirit): Not me, my parents.
Irina (Chekhov's Spirit): Yes, parents, they sent it, I didn't even send it.
By the way, I read my works to my mother and father. My father often treated this as a pampering, but my mother supported me very much, and so she sent (shows).
56:16 The spirit of Chekhov on his pseudonyms.
Igor: Listen, this story about your pseudonyms, of which researchers counted a total of 50 or even more. What was your attempt to disguise yourself connected with?
Irina (Chekhov's Spirit): In general, I think there are more of them.
Igor: How many pseudonyms did you have?
Irina: It shows about 100. At least, that’s the number I see now – 100. Now he’s going through the list, in some cases he could just sign it with a letter.
Igor: Or he could even just sign with a hard sign.
Irina: Then some name like Alier, some Allegory, some Doctor without patients.
Igor: Well, yes, we know - A man without a spleen, Brother of his brother.
Irina: Yes, they were very funny. He also signed with humor.
Igor: So, why didn’t you choose one pseudonym, if you didn’t want, so to speak, to make your own name public?
Irina (Chekhov's Spirit): Because I wanted people to laugh, to have fun, when they saw who wrote it, to amuse.
Igor: I see. Why didn't you sign your own name for a long time?
Irina (Chekhov's Spirit): Firstly, I didn't want those who read me (shows students) to know that it was me. Because at first I hid the fact that I wrote it, specifically among the general public, my friends knew. And secondly, it was my social life. I kept the name as if for my personal life, I shared it.
Igor: There is a version that you planned to write scientific papers on medicine under this name.
Irina (Chekhov's Spirit): I didn't think then that I would write medical works under this name, so I don't sign it. I wasn't ashamed of my work, I just had a certain understanding that these were social pseudonyms, and this is my personal name.
Igor: I understand. And in the end, if I understand correctly, for the first time you signed your own name under the story "Requiem" in "New Time", and this was the editors' insistent wish: they sent you a telegram with a request.
Irina (Chekhov's Spirit): I also signed several short stories, not only these, but also collections. I signed this one too. There are just dates. Now all this is in the past for me. So I can say in general that I didn't sign because they insisted. Yes, they persuaded me, but in fact I decided so myself.
Igor: There is a legend that Suvorin promised to give you one and a half times more per line if you signed your own name.
Irina (Chekhov's Spirit): It didn't influence me in any way, it was just one of the opinions. I decided so because I realized that it was time to go out to the general public, I decided it myself (shows).
And so that they would know that it was I who wrote these things. You could say this: I took responsibility as an individual for their content.
1:00:00 Chekhov's spirit about his income.
Igor: Do I understand correctly that the royalties from these publications made up a significant part of your income?
Irina (Chekhov's Spirit): A significant part, but not the main part, because despite my literary activity, I still continued to work as a doctor. After all, I studied to be a doctor (shows that he graduated from an educational institution).
Igor: One might assume that if you had material wealth, you would not have developed your literary abilities so intensively?
Irina: She laughs and says: “Well, you won’t be able to write just for the money. All the same, if you don’t have a burning Soul and don’t want to convey your joy, your Light, your experience to people, it won’t work. You’ll just end up with some kind of nonsense.”
(Chekhov's Spirit) I wrote for the Soul, for pleasure. Yes, there was money, of course, I did not refuse it, I loved it - it is quite natural for a person. But it cannot be said that I did it just for the money, and that if I had more wealth, I would not have written (I do not agree).
If I had spent as much time on medicine and on studying it as I did on writing these stories, plays, and so on, and not only physical energy, but also mental energy, which is important, then my earnings in the field of medical art would have been much higher. Because at that time doctors were highly valued, there were many sick people, and the emperor himself assigned them high salaries.
If I directed all my energy there, I would earn good money (he thinks I would even earn more).
1:02:15 Chekhov's spirit on possible areas of activity.
Igor: Can we assume that you would have achieved the same heights in medicine if you had directed all your energy there?
Igor: Would you have become a brilliant doctor?
Irina (Chekhov's Spirit): I would first treat sick people. By the way, I was already in charge of a hospital. Yes, I would have become a manager if I had moved up the career ladder. I could have done this, since I was a leader by nature, by my character. I could have moved further up the career ladder – for example, to manage an entire region, to manage all the medical centers in the area.
Then I could go into scientific work (I had such a dream). Into teaching, work at the institute and teach other doctors. And all this was very well paid.
Igor: Do you think you were a good doctor?
Irina (Chekhov's Spirit): I myself didn't fall into my own hands.
Igor: But colleagues say that you were a brilliant diagnostician and very attentive, kind to patients, and, which was unusual at the time, you paid a lot of attention to the psychological state of patients.
Irina (Chekhov's Spirit): For me it was normal. Why was it unusual for them? Naturally, I asked the person about his emotional upheavals, about his problems, because I already believed then that any feeling affects some physical function of an organ. And I showed great interest in mental illnesses. I even had the idea of going down the path of psychiatry, becoming a psychiatrist, helping people who are considered crazy return to our earthly world (I studied this topic).
Igor: In part, this resulted in a work called “Ward No. 6.”
Irina (Chekhov's Spirit): Not only that. I tried to put knowledge into each of my works, including that related to medicine - both about medicine and about psychology.
1:04:33 The spirit of Chekhov about his literary work.
Igor: Can you name, for example, three books that had the most significant influence on the formation of your literary taste?
Irina (Chekhov's Spirit): When I described the steppe (shows) [the story of the same name, "The Steppe"], that was my experience of describing nature, then writing again "The Seagull" (shows, a large play that needed to be developed: the main characters, their characters, how they interact with each other, and so on). Such socially significant stories, such as, for example, "Kashtanka", stories about poor people who found themselves in different circumstances.
Another book that had a very big influence on me was about Sakhalin (shows that he was writing about Sakhalin Island). The description of this island, what happened there, the description of the people who lived there, including those who worked in penal servitude, their social status (shows). He also described them from a medical point of view: what diseases they had, what was the state of medicine on the island. This made a very big impression on me.
But each even small work, in any case, was written and taken from the depths of my Heart. Of course, I have a lot of works (shows more than 500), such a large number. And in each of them I described certain situations with people that I observed myself, some observations from life, but already rethought by my own experience. For example, I saw something - and wrote some short story. I could give it any name.
For example, I heard a story (if we are talking about the topic of this evening, and today our topic is the summoning of spirits, so-called spiritualism). It was fashionable in my time, of course, I heard about it and even attended several sessions, my friends invited me. But I want to tell you right away that I did not really delve into it then and did not really believe in it because of my natural skepticism, critical mind. Nevertheless, I studied with interest this phenomenon, which you now call esotericism. Then it was simply called various secret knowledge, occultism, for example, spiritualism. And I have a story about this too - "Terrible Night". It is precisely about the consequences of a spiritualistic session. Perhaps you have read it, or can read it, but it is about not very good consequences, so to speak. But in the end, everything ends up funny.
1:08:29 The Spirit of Chekhov on favorite writers and literary forms.
Igor: Can you name your favorite writers? For example, three favorites.
Irina (Chekhov's Spirit): Tolstoy.
Igor: Pushkin. Have you met Tolstoy?
Irina (Chekhov's Spirit): Yes, but we communicated with many people there. In fact, I met many writers and poets, and artists. That was exactly the kind of circle of people I had.
Igor: I wanted to clarify about Tolstoy, who didn’t think much of Shakespeare as a playwright, but scolded you for writing even weaker than Shakespeare.
Irina (Chekhov's Spirit): He rated some of my stories quite highly, for example, the same "Kashtanka". He was talking about those that seemed too short and meaningless to him, because it was Tolstoy who loved to describe everything in more detail and to increase the plot of his work so that it would be more vivid and could be studied from different angles. And I had such short things that seemed to him as if unfinished.
Irina (Chekhov’s Spirit): He said that from this story, for example, one could write a whole novel, but “you ended at the most interesting part.”
Igor: At one time you told your friends, wrote in letters that you wanted to write a big novel, but somehow it never happened in your life. Why?
Irina (Chekhov's Spirit): I tried, but I couldn't find a title for it. I wrote several chapters there, then I realized that each of these chapters could be a separate story, but somehow it didn't work out into a large work. Also because it needed to be given a title that would reflect all of its features, and I didn't have that kind of experience of thinking - synthesis, with the help of which I could collect a single idea in different chapters. Because of this, I didn't write a novel.
1:10:57 The Spirit of Chekhov on creativity in drama.
Igor: Let's move on to your theatrical activities, a few questions on this topic.
How did you come up with the idea, you want to understand, to make, if you like, a revolution in dramaturgy? Because you yourself wrote to Suvorin, when you were working on The Seagull, that you were lying terribly against the conditions of the stage, but it really was just some kind of revolution - nothing like this before you, it seems to me, no one had done. I mean those theatrical dramaturgic principles that you introduced.
I mean, let's say, such seemingly meaningless dialogues, while passions are seething inside the characters. Or your, apparently, conscious exclusion of the most spectacular scenes - you put them behind the scenes. The same suicide of Kostik, for example, and many others. It would seem that any playwright would rush to bring all these spectacular scenes to the stage, as well as some others. I'm getting at how you came up with this?
Irina (Chekhov's Spirit): Good question.
Igor: How was this vision of the new theatre formed?
Irina (Chekhov's Spirit): You asked such an interesting question (smiles), which now, before I answer it, I need to understand. You understand that every artist creates in his own way?
Irina (Chekhov's Spirit): You ask how this came to my mind. Good question. How or where from?
Irina (Chekhov's Spirit): Because these are two different questions. One question is how? And the other question is where from?
Where from – I have already said that in my previous life I was a representative of the planet Disaru, who was studying the peculiarities of the formation of images for the creation of convictions and the development of feelings in children and adults. Therefore, I, although unconsciously, used my experience on Disaru to create especially my dramatic works. Are you talking about plays now?
Irina (Chekhov's Spirit): Works that can be performed on stage, in a certain place. And all these thoughts: how to construct this play, what acts should be there, what characters should be there. Even what they should wear, what phrases they should say, right down to, as you called, interjections, and all the actions on stage and behind the scenes. Right down to what was on the table, that is, the furnishings – they came to me in the process of creative inspiration.
How? From the Higher Self, which had information from my past life, but plus my curators also prompted me.
My curator was Saint Germain. My curator was Jesus Christ. And my curator was Archangel Raphael.
Irina (Chekhov's Spirit): They supervised spiritually: Archangel Raphael from the Spiritual World, Jesus Christ, we know, lives on Burkhad, but I communicated with His Christ Consciousness, that is, with the spiritual part. And Saint Germain also lived on Disaru at that time, because he is already many years old, he has been living there for a long time. At the time when I lived on Earth, he was also incarnated there. They suggested a lot to me, I felt it simply as a stream of thoughts without determining the addressee, that is, without determining who said it.
Here comes an idea, I think: “How cool, what an idea! I need to develop it.” And I began to twist and develop this idea in every possible way with my imagination (every person has an imagination, a fantasy): “What if it’s like this, what if it’s like this?” I can’t say that I wrote it entirely under the dictation of the curators – there was my creativity there too, but they suggested a lot to me. And I developed their hints, their ideas and embodied them in my own language, my own convictions, and so on. That is, it was such a joint creative process. To make you feel how and where I got these images from and why I built them like no one before me, it’s easier for me to answer: because I’m unique!
1:16:52 Chekhov's Spirit on the uniqueness of each individual.
Irina (Chekhov's Spirit): I am unique. But when I say that I am unique, firstly, I am telling the truth, and secondly, I am reminding you that you are also unique. And each of you can achieve a lot if you want to. I wanted to develop this, and as I explained my difficulties at the beginning, they were on this creative path. And each of you can develop in this direction. But to answer Igor, the host's question - how? - you need to try it yourself.
Start small, like I did as a child – just write notes in your personal diary. Ask yourself: “What should I write?” Just about what you see, about what you feel. No need to invent some incredible worlds. Write about yourself, about the cup of coffee you drank. About the autumn leaf you saw and which fell to the ground and made you remember that the whole world is mortal. About the simplest things. Do this every day. Let it be just a few lines, but every day. And then in a month, reread what you have written. And you will already know how you used your imagination, how you used your creative inspiration.
All people have talents in something, but many of them are dormant because they simply do not believe in themselves. If you love yourself, and believe in yourself, and go towards your goal, despite any obstacles, you will achieve more than you dream of.
1:19:19 The Spirit of Chekhov on Art.
Igor: We continue the theatrical theme. Can you determine whose merits are greater in the formation of the new aesthetics of the Moscow Art Theatre – Stanislavsky or Nemirovich?
Irina (Chekhov's Spirit): I don't weigh things on scales like that. That's not my job. In general, I want to say now that I am one of the patrons of the egregor of art on Earth. There is an egregor, that is, a collection of artistic energies not only in Russia, but all over the Earth, and I am one of its Guardians.
In addition to my work as a Guide Angel, I also do work in the egregor. And there it is not determined whose contribution is greater and whose contribution is less. Each contribution is unique, each contribution helps other Souls to follow the same path. Each "widow's mite" has priceless energy. It is impossible to evaluate it - more or less, it is not a material commodity, it is not a material object that we can weigh on scales: Stanislavsky or someone else invested 1 kilogram of gold in theatrical art, and his colleague invested 2 kilograms. No, it is impossible to weigh it. Everyone invested as much as they could, as they knew how, as much as God allowed them, as much as the Higher Self allowed. And I look at this process not from the point of view of competition, but from the point of view of Love, and I thank everyone who did this.
1:21:18 Chekhov's spirit about contacts with earthlings.
Igor: Do you have contactees on Earth?
Irina (Chekhov's Spirit): Yes, like an Angel. True, my spiritual name is different, not Anton.
Igor: Can you reveal the secret, what is it?
Irina (Chekhov's Spirit): Angstrom.
Igor: Angstrom. This is if someone wants to contact you.
Irina: I realized that Angstrom, Angstrom.
Igor: Angstrom. Tell me, how can I contact you?
Irina (Chekhov's Spirit): This is my spiritual name. But naturally, you need to go out through my incarnations, including through the last one, through the last personality - Anton Pavlovich Chekhov. Although I no longer consider myself to be him, but still there is a part of my energy in him, which is called the Soul. Again, for you it was, but for me - it is, since I am outside of time. And you can not only address Angstrom, but also simply wish to get in touch with me. You can do this by simply mentally imagining my image or looking at a picture, for example, such a beautiful one as this one.
Look, please, everyone, into the eyes of this person now. Because the easiest way to get in touch with me is through the eyes: the eyes reflect the Spirit that looks through them. But first you need to turn on your Heart, open it, trust it, trust yourself. Otherwise, you will not feel anything. So, look into the eyes, Igor, look into the eyes. Now I will show you on Igor how to get in touch with me.
So, imagine that there is no one around - only you and this portrait. And you imagine it too. Look straight into the eyes and tell me, what feelings does this person's gaze evoke in your Heart?
Igor: A feeling of Love, severity and kindness.
Irina (Chekhov's Spirit): Excellent. You felt the energies, then you can feel something of your own, everyone feels here in their own way. The main thing is to tune in to the flow of energy that comes from the eyes. It's very simple: stop analyzing and start feeling. Excellent, I see that you are already turning on, and I feel that I am also establishing contact with you.
Now answer yourself this question: do you like my energy, do you enjoy it? Igor, do you enjoy this energy?
Irina (Chekhov's Spirit): Excellent. For the next stage, you need to distract yourself from the material world - it is best to distract yourself from visual images: close your eyes and remember the face, remember the eyes. If you don't remember, look again.
Remember, imagine and say: "Anton (call this person as you please), I greet you!" Mentally say: "I thank you for your incarnation in this body and I send you the Light of my Love." What is Light? It is your energy. You definitely send Light to establish contact. And you need to imagine how a ray goes from you to me, to my image. Through this image I will communicate with you.
Igor: I feel these oncoming streams, like rivers.
Irina (Chekhov's Spirit): Yes, you feel the setting of contact with yourself now. I am starting to set up contact with your mental field. Your consciousness may change a little, your head may spin a little - this is normal, this is how the body reacts. Do not be afraid of anything, you are completely safe. Communicating with Spirits is absolutely safe.
(Irina) I'll add now: especially if it's a Spirit from the 21st level. So, let's go: who felt the oncoming flow? Yes, I see. Enough, good.
(Chekhov's Spirit) And then you need to ask a question. But ask it mentally.
Igor, ask him any question in your mind. And the answer will come to you itself. I'll just send it (shows how), and the answer will come.
Irina: Yes, good, now he's just tuning in to everyone. Now I'll wait a little. How do you like this experiment?
Igor: A wonderful experiment! We couldn't even dream of something like this: we entered the field, made contact with Anton Pavlovich!
Irina (Chekhov's Spirit): As you can see, it's easier than it seems.
Igor: Thank you very much, our dear Anton Pavlovich!
Irina (Chekhov's Spirit): This is my answer to your question about how to establish contact with me. Now I'll just explain.
If you didn’t succeed – it’s okay, many people need solitude and a slightly longer tuning for this. Everyone has their own fields and their own level of sensitivity. Remember how I told you about the potato? Therefore, even if you didn’t succeed in feeling anything: no answer, no energy – there’s nothing wrong with that. It’s absolutely normal. You can repeat this by opening my portrait or taking my photo when you’re already alone, after the session. But only if you have, of course, the desire, and the mood, trust in yourself, trust in me. If there is no complete trust, the field will be closed, I won’t be able to make contact – I’ll send energies, but you won’t perceive them.
For contact at the energy level, for contact at the level of thoughts, as with Irina, as with Igor and as with those of you who felt my presence, my answers and my energies, openness is very important. Of course, I want to emphasize right away: I sent you an answer - you perceived it and passed it through your brain. This is normal. You received an answer in the most understandable language for you, personally for you.
(Irina) How do you like the experiment?
Igor: I am shocked. Thank you very much, Anton Pavlovich!
Irina (Chekhov's Spirit): Yes. Thank you.
1:29:49 Advice from the Spirit of Chekhov to all earthlings.
Igor: Tell me, please, do you follow the circumstances that are happening at the Moscow Art Theatre?
Irina (Chekhov's Spirit): Only through the egregor, and not due to circumstances, but, so to speak, simply due to energies.
Igor: For energies. How do you assess the state of energies in our main theater of the country?
Irina: Very agitated, shows that there is a lot of fuss.
(The Spirit of Chekhov) This is, again, compared to my time. There is a lot of fuss and a variety of creative ideas, but many of them are never brought to completion (it shows how they want to stage something, then - bam, it is cancelled; they want to stage some things - then they change the program, there are also grievances among themselves and within the team).
Igor: Is there anything you want to advise your, I don’t know, colleagues or artists?
Irina (Chekhov's Spirit): Yes, of course.
Igor: Please do this. Specifically, to those at the Moscow Art Theatre. By the way, did you know that we have two Moscow Art Theatres?
Irina: It shows that for him these are not two buildings. He is in charge of the egregor of art, and for him these are simply energy departments.
(The Spirit of Chekhov) I want to say, again, that it makes no difference to me where my, so to speak, colleague works, in what theater. In general, I consider all writers, doctors, playwrights, and simply good, kind people to be colleagues. I have a wish specifically for actors: do only as you feel, listen to your Heart.
The same wish will be for everyone. It is just that each profession, as is known, leaves a certain imprint on a person's character. And professional duties, professional knowledge, of course, you have, you have studied this. But I want to urge you to pay attention to the fact that the main thing is not the roles that you play, but the content, the content of your Spiritual heart, which will be important for you after leaving this body, from this incarnation.
No matter what your job is, where you live, no matter what your social or material level, all of this, my dear brothers and sisters, is toys that you play with for the sake of knowing God. Knowing His Love and developing the likeness of God in yourself, revealing precisely those talents that I spoke about. If you remember this all your life, and consider the material world a game, and do not become attached to it, to its toys, then your spiritual development will go much faster and without any fears.
1:31:32 The spirit of Chekhov about theaters on Disar.
Igor: By the way, I wanted to ask: are there any theaters in Disaru?
Irina (Chekhov's Spirit): Yes, there are. There are small and large theater groups that perform certain literary works and even stage productions based on myths, songs, and smaller works, such as short stories. They can stage a performance, for example, based on a short story, not necessarily a major play, and create the setting for that story. But this also exists on Earth, in fact, there are such groups, especially among children.
I wanted to say that when I was a child, I wasn't just friends and playing with my brothers, we had other friends in our childhood. And we also (shows) read various books from the school curriculum and could play - gather in a circle (not like at school, but in the yard in the summer). We had a game: one reads for one character, the other reads for another character and performs certain actions. It was like a theatrical production.
Igor: I understand. Thank you.
And did you meet the Spirit of Stanislavsky there, in the Spiritual World?
(Irina) I don’t hear a positive answer.
Igor: Tell me, please, can you single out one of your plays that is most relevant now for staging here on Earth?
Irina (Chekhov's Spirit): I don't think it's irrelevant.
1:35:25 The spirit of Chekhov about his plays.
Igor: The question that everyone who has picked up your plays, particularly The Seagull, has been struggling with for 130 years: why is it a comedy? And The Cherry Orchard too.
Irina (Chekhov's Spirit): Why is it a comedy? Why did I call it that?
Igor: Why did you define the genre as comedy? What's funny about it? Actually, "Three Sisters" is a drama, and that's understandable. But why isn't "The Seagull"? After all, comedy is when it's funny. Why do you define "The Seagull" and "The Cherry Orchard" as comedies?
Irina (Chekhov's Spirit): Because the people or characters in them, they played too much with their feelings, and it looked funny (shows that this is such humor: he specifically wrote different words that made him mock - not satire, but rather irony).
Irina: Their words and actions lead to certain consequences.
Igor: Some of your fans have taken up the special calculation of the area of the cherry orchard. Can you tell me what size this orchard was when you were writing?
Irina: There are no such details.
Igor: I'll tell you: Lopakhin says there that you can get 25 rubles for a dessiatine per year, and the entire rent is 25,000. That is, we are talking about a thousand dessiatines, which, translated into measures that we understand, is about one and a half thousand hectares. This is some kind of unimaginable, gigantic area.
Irina (Chekhov's Spirit): It was just an image (shows, it was just a stage image). It was not a real garden, it was a stage image to show the characters again.
(Irina) I want to say, he is telling me now, but I don’t quite understand, because I haven’t read this particular work. Maybe I have, but a long time ago.
Accordingly, he now tells me that there is such a heroine who clung to this garden: she clung to it like a treasure, and because of this she made many mistakes. Again, because of her fear of losing it, she closed herself off from harmonizing, for example, the situation with her debts that she found herself in. Accordingly, everything ended with her attracting to herself what she thought about and what she was afraid of. And here again an unconscious order occurred. She still lost this garden, and it was very dear to her.
Here was the comedy (shows that it is funny when a person perceives the temporary instead of the eternal, such a philosophical subtext). There was no specifically important square, there was just an image.
Igor: But does it still matter that it’s a large area?
Irina (Chekhov's Spirit): Yes, a large area, but the specific figure didn't matter there.
The actors also asked to find out: in "Three Sisters" there is a remark: "Masha, lost in thought over a book, quietly whistles a song. Olga tells her: "Don't whistle, Masha, how can you?!" Question: what song is Masha whistling?
Irina: He shows that it is some kind of Russian folk song, a cheerful one, which is played at weddings. He shows.
1:39:50 Chekhov's Spirit on the "temptation of the flesh."
Igor: We have smoothly approached a block of questions related to your personal life. Can we talk about this topic with you?
Irina (Chekhov's Spirit): Of course, these are answers to questions that will help many people understand themselves.
And we will start with your own confession that you first visited a brothel (which presumably means that your first sexual experience took place at the same time) at the age of 13. As I understand it, this is exactly when you were left alone in Taganrog, when your family left. As psychologists say, the first sexual experience largely programs a person's future sexual behavior. So you used the services of available women all your life and avoided full-fledged family relationships.
Irina (Chekhov's Spirit): My visit to this brothel at the age of 13 – it also had reasons. It could not have happened without reasons, and these reasons were in my earlier childhood. These reasons were connected with my parents, these reasons were connected with my relationship with my mother, with my father, with their interrelations.
And the subsequent reluctance to start a family was connected precisely with the grievances that at that time, in my youth, I had, as I already explained, against my father and mother. There were hidden grievances for the fact that she did not protect me, for the fact that she did not protect other children, and subconsciously I had the attitude that family leads to violence, that family leads to the suppression of children.
Firstly, they were unconscious, that is, consciously, I, on the contrary, wanted to start a family already in my student years. But the attitudes that were in me in those years (by the way, it was at that time that I corresponded to the 13th spiritual level, 14th, I even lowered my level from 18th) did not allow it. It was at the time of disembodiment that I raised my spiritual level, and during my youth I was at the 13th level, for some time I was even 12th, 11th. Then it was in pleasures that I found the meaning of life. There was such a period, and, of course, I do not hide it. It cannot be hidden, it must be talked about, because each of you is subject to the so-called temptation of the flesh.
These are certain emotions, feelings, which, as I have already said, can lead you away from your spiritual path, from your spiritual destiny. And in fact, I consoled my grief from the fact that I did not have a loved one nearby who would understand me with my passion for various women and sexual contacts with them, these sensations, various novels and attention from women. I simply replaced one thing with another, I replaced this genuine spiritual Love with attention from many women. If there is not one, then let there be many, but who admire. I even read (shows) them my works. They show their Love, wait for my attention, they can be replaced as easily as turning a page in a book. This is such a consciousness: the more women, the more Love; the more Love, the more significant I am.
I replaced this genuine, family Love with this, which is more spiritual. Of course, there is a physical plane. Yes, of course, naturally, in a family there is physical attraction, sexual attraction, if we say so. This is quite normal, it should manifest itself there, it is a family, like two halves of one whole. But when there is a substitution, when the physical comes to the fore: beautiful bodies, beautiful clothes, pleasant smells, seduction, coquetry - then this spiritual quickly fades into the background. Especially in a young man who is full of strength, who is also, so to speak, famous in society: all this can lead him quite far.
Indeed, all these connections had a negative impact not only on the creation, but on the desire to create a family in general (because you called it "unwillingness"). Yes, I had it before - this unwillingness to create a family, and at that time it took the form of this, I would say, fornication. The unwillingness to create a family itself arose because of bad relations with my parents in childhood, and between them, too, not everything was smooth. I saw a lot in the family that remained behind the closed doors of our home. For example, my father beating my mother and scandals, I saw her tears.
I had a fear that my father's genes would wake up and I would behave the same way with my wife, with my children. Subconscious. That if I was with one woman, I would get so tired of her that I would hate her. And I would be ashamed to get rid of her and divorce, at the same time I would not be able to be near her: I would simply beat her, I would hate the children.
All these subconscious beliefs were formed in me based on the history of the family into which I was born.
1:47:06 Chekhov's Spirit on his first sexual experience and its consequences.
Irina (Chekhov's Spirit): At that time I was 13 years old. I had my first sexual experience with a fallen woman. With a whore, as you would call her, a harlot, she was an adult, she was over 30 years old. And yes, my friends took me there (shows that they were older). They paid for me. Especially because I was a minor: they charged extra for the risk. And yes, she showed me everything that a thirteen-year-old boy was too young to know. I think every adult understands what I'm talking about, it's inappropriate to go into details here.
But I want to say that this experience affected me in such a way that I understood at the same time this inexpressible sweetness of carnal relations and at the same time the removal of responsibility for a woman as your wife and the mother of your children. And this, together with the fear (which I described, formed in childhood, it was subconscious, unconscious) led to the fact that I did not strive to develop serious relationships and easily moved from one woman to another. Although, by the way, I myself was quite jealous (shows that he was jealous).
Later I realized that it was necessary to forgive, as I already said, my father, my mother. And when I started working on this (forgiving them, justifying them first in my own eyes, forgiving and praying to God for them), I gradually realized that it was necessary to build my own family. As was already said here, this happened 3 years before my exit from incarnation.
1:49:44 Chekhov's spirit on the reasons for early exit from incarnation.
Irina (Chekhov's Spirit): By the way, I may be ahead of your next question, but I need to say this. I have planned 66 years of earthly life for myself.
Irina (Chekhov's Spirit): The reason is a bad, disharmonious attitude towards my body, decreased immunity and, ultimately, the destruction of the body by tuberculosis bacteria. Because my immunity, my body was not enough to suppress this bacterium, so that it simply remained dormant. Many people have it in a dormant form: when it enters the body, it remains there, but the immunity does not overcome it. My body did not have enough resources. At that point in time, the tuberculosis bacillus simply destroyed the lungs, and subsequently my body perished from its destructive work.
Firstly, bleeding from the destroyed lung tissue began and repeated many times. And secondly, I will tell you more simply: any infection, any microbe, any bacterium, during its life in the body, releases toxins into the blood. And the toxins that this bacillus released caused my blood to thicken, which in turn caused thrombosis of the cerebral vessels. This is an additional reason, and first there was bleeding, there was fever, destruction of the lungs, lack of oxygen, and plus this thrombosis, which became the immediate cause.
Irina (Chekhov's Spirit): Exactly at that age, not a year later, not 5 years later, but exactly at 44. This is because I had already undermined my health, despite the fact that I had reached the 21st level. My spiritual level was high enough, but my body was already undermined, its health was so destroyed that there were not enough resources. And it could not cope.
Therefore, I want to address you now: if you have appointed yourself to exit incarnation at a sufficiently old, senile age, if your Spirit appointed such before incarnation, then this term can be fulfilled only under the condition of a correct, harmonious, loving attitude towards your own body. Only under this condition will your body physically survive until the term that you have set for yourself.
If you break an organ, you will have to live with the broken one. Earthly medicine at the moment is far from being able to fix everything. If you break your body so that the Soul cannot stay in it, you will leave the incarnation before its time. And when you try to tell the Angel-Consultants or God: "For what reason did I not live to the end of my term?" - there will be a clear answer: "It was your choice." The fact is that an unconscious choice is also a choice.
What exactly undermined my immunity? Well, this is precisely it, including not only tuberculosis, not only the trip to Sakhalin, as they already told here in the film. Of course, this was a certain burden on my body. But you know very well that many people travel to Sakhalin, even live there in these conditions, and lived in even worse conditions, but longer than me. Of course, you will ask me: "What does it depend on then?" If not on the weather, then on what, right? And it was precisely these contacts with different women from my youth that undermined my immunity, my health. I took into my body a very large microbial load from various women who passed many men through themselves and shared it all: everything they took from them, they shared with me.
I had a teenage body at 13, when, as I already told you, I had contact with a woman for the first time, without any means of protection, of course. You don't think about this in a moment of passion. In a moment of passion, there is no time for the health of the body. And this is according to the laws of God - a lack of love for your body, this is how you treat it. And it turned out that my body was still very young, it was not fully formed, my immunity was not yet like an adult's. And she transmitted to me pathogens of such microbes that many men had.
And gradually, I didn't feel it yet, it was a gradual work, but from the inside, the destruction of my body began. And that is why the tuberculosis bacillus in the lungs, which was there before, became active, it was just dormant. It came from my parents, from the fact that they communicated with me, held me in their arms, fed me, and so on, only it came in a dormant form. Because my immunity was distracted by what was happening below, in the genitals, to suppress this whole infection, and it was distracted from it, and it began to develop. But I couldn't work on two fronts at once, I didn't have enough resources.
This was the final reason for leaving the incarnation.
Igor: Let me clarify. Did I understand correctly that this illness that you suffered from for many years, and which eventually became the reason for your early departure from life, was not originally planned by you in the plan, so to speak, of life before incarnation?
Irina (Chekhov's Spirit): No. Already acquired in the process.
Igor: The result of your, so to speak, actions, your choices in the course of life?
Irina (Chekhov's Spirit): Yes. But if you mean the tuberculosis pathogen, then this is not planned specifically, it just got into many, including my brothers. Indeed, one of my brothers also died from tuberculosis. As I already said, I met his Spirit, it was Nikolai. But the rest, and we communicated with them, and Nikolai communicated with them, and, naturally, all this during communication, during conversation settled on objects and passed on to other children, their immunity coped, and they lived a long life, that is, tuberculosis did not develop.
Why exactly it happened to me, I have already explained, Nikolai had his own reasons there, let him tell you himself. And I am talking about my reasons, and they were precisely physical. But these physical reasons were also caused by my spiritual state. That is, it is clear that you can say: “Why did you go there? Why did you acquire all this there? Why did you change women? You caught yourself there, and because of this, you undermined your health.” And why did I go? This was already determined by spiritual reasons.
1:59:10 Chekhov's spirit about his women.
Igor: Tell me, please, there was Lika Mizinova in your life, with whom you maintained a relationship for a long time. It's hard to judge, but apparently she loved you, and you loved her, but in the end you never proposed to her. As I understand it, for the reason you just explained?
Irina (Chekhov's Spirit): There were a lot of them (shows: many fell in love with him, dated him; with some there were completely platonic relationships, and there was no continuation).
Igor: There was no continuation.
There was another episode in your biography that could be called a "triple alliance." At least, that's what they say. I mean Shchepkina-Kupernik, a poetess and translator, and the actress Yavorskaya. They had a love affair, and they lured you into their triangle. For some time, you all indulged in pleasures together in a hotel room. Why did you need this experience?
Irina (Chekhov's Spirit): Why did I need this experience? Because passion, the feeling of this prodigal passion, it knows no bounds, in fact. You quickly get bored with it all, you start looking for something new. If you do this often at a young age, then it can often lead to such consequences. And I even saw (shows) my friends, I will not name them without permission, but I will say that they had even more interesting features of sexual behavior. I heard about it.
People reach the point where they turn to children, animals, each other, men to men. The lustful passion very quickly takes hold of young people and knows no bounds, unless a person with his spiritual mind says to himself: “Enough! I want to live a spiritual life, I want to use the sexual energy for its intended purpose, which God gave me.” And this is Love, true Love, this is the creation of a family, this is, naturally, the embodiment of other Spirits, this is creativity and much more. But not wasting yourself in temporary relationships for the sake of a short-term spasm, which is called an orgasm. It is simply not worth it.
Igor: Tell me, please, did you really love Olga Knipper? And did she love you?
Irina (Chekhov's Spirit): Yes. About Olga. A feeling awoke not as towards a female, whose body you can simply use, but as towards a woman, as towards a person. I saw the Soul in her, and she in me too.
Igor: Evil tongues say that your infatuation with Olga was the result of a cunning plan by Stanislavsky and Nemirovich, who wanted to tie you more securely to the theater in this way so that you would continue to write plays for the Moscow Art Theater.
Irina (Chekhov's Spirit): And what does my relationship with her have to do with my plays?
Igor: She would act in your plays. She would tell you: "Write a new play for me." And you would write.
Irina (Chekhov's Spirit): I could give it to any theater.
Igor: But he did pass it on to the Moscow Art Theatre.
Irina (Chekhov's Spirit): And how did it depend on the relationship with her? If I didn't like something, I could say: "You can also move to another theater." No, there are other reasons for that. It's just that Olga (shows) is such a Soul, with whom, by the way, we also met at Disaru, but she was not embodied there when we met. And how did we meet then? There she was one of my curators.
Igor: To what level did she leave incarnation?
Irina (Chekhov's Spirit): She left the incarnation on the 15th level.
Irina (Chekhov's Spirit): Yes, I went down from the 21st.
Igor: Tell me, please, did you cheat on each other when you were already married?
Irina (Chekhov's Spirit): No (shows that there were temptations, but nothing physical).
Igor: Evil tongues claim that Olga continued her relationship with Nemirovich-Danchenko, that they were allegedly lovers, and that the second miscarriage occurred as a result of a pregnancy in which you, so to speak, did not take part.
Irina (Chekhov's Spirit): Yes, I understand what you are talking about. The thing is, you just asked about me – I did not cheat. I cannot talk about the other Spirit, her secrets and what she hid from me without her permission.
Irina (Chekhov's Spirit): You need to call her. I can say about myself: I did not cheat, although I had temptations, such that I was left alone with certain women, and they themselves offered to have sex with them (shows that he did not cheat, there was no physical betrayal).
And how Olga cheated, she must answer this question herself. How can I answer without her?
2:06:04 Chekhov's spirit about his children.
Irina (Chekhov's Spirit): Yes, but I didn't accept them, I didn't know that they even existed.
Igor: You weren't interested? You didn't know at all?
Irina (Chekhov's Spirit): I didn't know, these were temporary connections.
Igor: And when did you find out?
Irina (Chekhov's Spirit): After leaving the incarnation.
Irina (Chekhov's Spirit): Six Souls were incarnated through me.
Irina (Chekhov's Spirit): From different women.
Igor: From what women? Maybe you can tell us something?
Irina (Chekhov's Spirit): Oh, I didn't even remember their names. They were just temporary connections (shows that they just met, there was contact, and she got pregnant).
Some of them got rid of pregnancy with the help of midwives, and some gave birth. These were four girls and two boys (they showed: his Angel-Consultants show him these Souls and their gender, as for women - they just show me their images, it is clear that these are just certain Souls, they already have other names, it is all visible in the energy).
Igor: Thank you. We are gradually approaching the finale. The final block of questions. Please tell me, are you planning a new incarnation?
Irina (Chekhov's Spirit): There are no such plans yet. Maybe later, in my subjective time. But there are no such plans yet.
Igor: Thank you. Yes, I remembered. In your letters you call this process of intimate closeness "tararahnut'". Tararahnut' - what kind of word is that? Where did you get it from?
Irina (Chekhov's Spirit): It's just a variation of a popular Russian word.
Igor: So this is not your invention?
Irina (Chekhov's Spirit): No, just as a modification.
Igor: Modification, I understand.
2:08:11 Chekhov's spirit on the desire to collect.
Igor: One more question. You've been collecting stamps all your life and left behind some gigantic volumes of them. What kind of hobby is that? Why did you need stamps?
Irina (Chekhov's Spirit): I not only collected stamps, I also collected cigars (shows).
Irina: Like tobacco. He had different varieties there.
(Spirit of Chekhov): This passion came from the fact that I wanted to collect a collection in order to look through it and enjoy what was there (this is, again, the Science of Imagery, because there were pictures on these stamps).
This is, again, due to the fact that in the previous incarnation the Science of Imagery was a priority, so he was drawn to all sorts of pictures (shows that he also had books, such things).
Igor: Usually, at the end, we give the audience the opportunity to ask questions that were not included in the main body of our discussion. Can we do that now?
Igor: Dear friends, we have a unique opportunity.
Spectator 1: Good evening! Thank you for this opportunity. Here's a question: I have a feeling that at the end of the 20th century and in the 21st century, art has degraded. What is your opinion on this? And another question: as an art curator, what exactly do you do?
Audience 1: What do you do as a curator?
Irina: Ah, what are you doing?
2:09:54 The Spirit of Chekhov on the Development of Art.
Irina: So the first question: has art degraded, right?
Irina (Chekhov's Spirit): There is an inevitable process of art changing depending on social transformations of society, scientific knowledge and the spiritual level, in general. Therefore, you change, the generation of people changes within themselves, and art inevitably changes. If you look at it in general, I do not see degradation here, it is simply development. But where it will turn next, of course, depends only on you.
There are, I agree with you here, individual forms of art that look very negative and really evoke thoughts of degradation. But I believe that one cannot say this about all art as a whole, only about individual directions. But even in my time, when I was incarnated, there were also directions of art where death and violence were glorified in certain poems and songs. It’s just that now, with the development of information technologies, what you call the Internet, video, these types of art can spread faster, including negative ones, with a negative subtext, which carry evil, aggression, destruction. They can spread much faster and to a greater number of people than in my time. There were no such technical means then.
You and I just live in different times. And art can be pure, high, and there is low, which speaks of base needs, of all sorts of sinful inclinations, and not just speaks, but praises them. And in my time it was, it just wasn’t so widespread because of the impossibility of distribution due to the lack of technology. But it was, it was.
2:12:16 The Spirit of Chekhov on the curatorship of the egregor of art.
Irina (Chekhov's Spirit): As for the second question: what do I do? I observe the development of the egregor of art, I help cleanse it of negative energies by contacting people and calling them to release high energies into this egregor. It's like contacting, but at the level of the egregor. I put my thoughts into this egregor - pure, bright thoughts about how art should serve the development of the human Spirit, its happiness and Love first and foremost. And my role here is to mentally prompt people who have entered the egregor of art how to achieve this.
Igor: Thank you very much. I wanted to clarify: you are not the only curator of this egregor of art?
Irina: No, there are a lot of them.
Igor: Can you name anyone else we know from their earthly life who is now supervising the egregor of art with you?
Irina: (Chekhov’s Spirit) Me, Dostoevsky, Tolstoy (shows, there are 50–52 of the main ones).
Irina (Chekhov's Spirit): Pushkin. But since he is embodied, then his non-embodied part, the Higher Self.
(Irina) Who is this? He shows faces, searches my memory. The thing is, when he gives me a name, and I don't understand who it is, he shows an image.
Now, who is this? I understand. These are all actors, writers, sculptors, composers, artists who have been all over the Earth, some of them.
Igor: I see. Yes, good. Thank you very much.
2:14:54 Chekhov's spirit on the choice of the last incarnation.
Spectator 2: Thank you. Good evening. I send the Light of my Love to Irina and the Spirit of Anton. I thank them for their presence at this evening. The question is: Anton, what incarnations were offered to you, of which did you choose to incarnate as Chekhov?
Irina (Chekhov's Spirit): Yes, I was offered three incarnations that time, of which I chose one on Earth. And the other two, they were not on planet Earth. One was in a subtle-material civilization on the planet Mercury. Subtle-material is a plasmoid civilization, there is the 11th density level. The second was in a civilization also on another planet, which, again, is not part of the Interstellar Union, which you know. It is quite far from Earth and from the capital of the Interstellar Union. A race lives on it, which you call reptilian. There was a certain physical body, in which I was offered to incarnate. And there was this 11th density level on Mercury, and this earthly body, in which I incarnated in the end.
Igor: Thank you for choosing us.
2:16:24 Chekhov's spirit about his incarnations.
Audience 3: Please tell me, what was the lowest level you were in this manvantara? How did you get there? And how long did it take to get out and in what ways? That's the first question. And the second question: did you ever become despondent after the death of a loved one? And how did you get out? Since you are on the 21st level, you obviously got out. I really need a hint. Thank you.
Irina (Chekhov's Spirit): My lowest level during the manvantara was 3rd.
Irina (Chekhov's Spirit): I got there after the war, after participating in a war also on another planet, you don't know it. There also lives a reptilian race, it is also not part of the Interstellar Union and is not in the Milky Way galaxy, but nevertheless, it was there.
How did I get out? After that I incarnated several times and I managed to get out of the 3rd level (shows how I incarnated into the subtle-material worlds to cleanse myself, reached the 10th level, then in a higher-vibration plasmoid world - the 12th level: that is, there was a whole series of incarnations).
And only then, after reaching the 12th level, I returned to humanoid civilizations. Because it was very painful and very unpleasant to go back into a dense body with those feelings, emotions that I had at the 3rd level. Because there was just a tangle of contradictions, a tangle of grievances, fears, anger, hatred - all these negative emotions and feelings, and corresponding attitudes.
2:18:20 Chekhov's Spirit on overcoming despondency and fear of death.
Irina (Chekhov's Spirit): As for despondency. Yes, of course, in this last incarnation of mine, as I already said, I experienced despondency at a certain period of time, after the death of my brother. I missed him very much and was very sad because he left the incarnation at a young age (he was just over 30 years old), did not live life, saw little.
For a long time I could not understand this, to come to terms with it, I even grumbled at God. This shook my faith in God, my trust in God. At that time I began to show skepticism towards the Spiritual world, towards believers, towards the church. And I even said to God to myself: “I asked you to save him, I prayed, I went to church, I wrote notes. You did not do it. Do you not care about my feelings?” That was the question. “Or maybe you do not exist at all? Maybe you are just an evil invention of people who manipulate people?” That was the level of consciousness.
How did I get out of this? Only by going through my own path, my own experience, bit by bit returning my trust in God. I have already told you how I continued to have prophetic dreams, encounter various signs. If someone at that moment had started to dissuade me, to say that it was all normal, and that I shouldn’t be sad, I simply wouldn’t have understood and would have probably even gotten angry. Because it didn’t correspond to my vibrations, my feelings at that moment.
After all, you know from your own experience how easily you accept what you want to hear. And I was the same as you, in the same body. And gradually I realized with the help of, of course, my Higher Self, my Guardian Angels and my curators, whom I listed. I gradually began to understand that this is all temporary, that I will also die. And since I will also die, then there is no need to be sad about the fact that someone has already died, since death is natural. I had thoughts that yes, death is natural for the body, but the thought of it is disgusting for a person. But then I began to think about this question and realized that this body resists so much, it has a life program.
And I realized that despite the resistance, it will still die. Yes, your bodies will die too – this must be accepted. That’s right, it’s normal, it’s natural. But before I understood and accepted this, I had to go a long way first. Because at first I turned away from this thought, again because of my internal fears about this state.
And if you are honest with yourself, first of all with yourself, then you will honestly say that yes, your body will die, and this law was created by God. And if the law of death was created by Him, and He is Love, then this law was created from the position of Love. It would seem that here your whole being screams: "No, death is not Love!" But in fact, if you look from the point of view of the Spirit, death is a release from one position and assignment to another.
But before I realized this, I had to go a long way. And how it goes for you depends only on you.
2:23:31 Chekhov's Spirit on the original plan for the embodiment of Chekhov.
Spectator 4: I have a question about the original plan – to live to 66. After all, it turns out that then you would have caught Russia in such critical periods as the First World War and the October Revolution.
Audience 4: What would your mission be then, at that point? How could you influence society? Would you be able to change anything at all?
And one more question about the disease. Was there a chance? When exactly did the critical moment come and it was impossible to turn back? Was it possible at some point to change and save the body?
Irina (Chekhov's Spirit): Yes, I understand. Indeed, in my plan of incarnation, it was envisaged that the country where I lived, its egregor, would go through this difficult life lesson, like revolution, war. This is the First World War, revolution, civil war. These are very difficult lessons. This is a manifestation of national karma, into which I was inscribed as a Spirit that takes on a part of it.
For the reasons described earlier, I did not pass them. If I had passed them, I would have had plans for it (shows what would have changed). Yes, there were certain plans that did not come to fruition.
The plans were as follows: I would still use my art – writing, my writing talent – to help people understand what was happening. With the help of stories and plays, I would describe the reality in which I lived at that moment in time. And this would help people to go through their experience more consciously and make fewer mistakes. Because when you make mistakes yourself, you may not see them. But when you read about them in a book, this already alien experience becomes yours, and you begin to avoid them.
I would write about the most pressing problems of society – both the Russian Empire and the Soviet Union. I believe, since I saw an option in Lenta Vremya, that I would find contact with any government, would be useful to them, but I would continue to write about the problems of the common man, no matter what he was called – communist, capitalist, white, red – it made no difference to me.
2:26:34 Chekhov's spirit on the possibility of his healing.
Irina (Chekhov's Spirit): As for whether it was possible to change anything? Yes, there was such a possibility, but for this I needed to actively take care of my health, to raise my immunity instead of going to Sakhalin (shows that I needed to go to a sanatorium, to a medical institution).
As a doctor, I understood all this anyway, I understood what was happening. It was necessary to do herbal medicine, use special herbs. Naturally, accept and love myself, my body, completely forgive my mother, father, all the women who were in my life, who deceived me in some way, and, naturally, ask them for forgiveness, forgive myself for it.
The inner world had to be involved, plus external treatment was needed with the means that were available at that time. After all, there were already certain medicines, drugs, they could be used (shows: use more herbs, herbal medicine, and rest, walks, warm climate, so that there are no additional loads).
2:28:06 Spirit Chekhov on the consequences of his trip to Sakhalin.
Igor: Tell me, please, now, looking from the Spiritual World, was this trip to Sakhalin worth such a sacrifice? We know that as a result of the book you wrote, significant changes really did occur there, which radically changed the situation of the convicts, medicines appeared, in general, the conditions of detention became easier.
Irina (Chekhov's Spirit): Yes, I think it was worth it, even if I interrupted the incarnation, it was interrupted at 44, and I did not live to the end of 22 years. These 22 years in the material world cost the lives and health of many people on Sakhalin itself, because I not only went there and wrote a book about it. I began to write to various authorities, to make requests: to change the attitude towards convicts, to open certain medical institutions there. Moreover, I drew the attention of the authorities to the poor and sick people both in Moscow itself, and in the Moscow region, and in Crimea, where I lived.
And I began to create various charitable foundations more actively, to contribute the money I had to them. I even began to use the money I received from selling my books, like a patron of the arts, to direct most of it to building various houses, shelters for the homeless, orphanages, and various hospitals. When I saw how people lived, I was so horrified. But this horror was useful for me, it shook me up, so to speak, brought me out of this hedonistic state (he says: hedonistic-indifferent attitude to reality).
Igor: Are you saying that this was typical for you before Sakhalin?
Irina: He helped too, but it shook him up (shows).
Irina (Chekhov's Spirit): There was a shock, because I saw the suffering of people who had no way to get out of the conditions they found themselves in. This caused a complete shock, and a desire to change all of this.
Igor: Okay, thank you. Let's wrap this up. Yes, Nikita, the woman has been reaching for the notebook for a long time now.
Anton Pavlovich, fans came to meet you with your plays.
2:31:30 Chekhov's spirit about his sister Maria Pavlovna.
Spectator 5: Dear Anton Pavlovich, I have a question: after all, your sister, Maria Pavlovna, played a big role in your creative work. She was your favorite sister and left a very large legacy after your death: she was involved in your letters, plays, organizing productions, creating a house-museum, a dacha in Crimea, Gagra and Miskhor.
It is a well-known fact that Levitan courted her, and you were very friendly with Levitan as an artist and as a friend. He spent a lot of time with you (at the dacha in Babkino, in Melikhovo and in Sochi). He painted his landscapes. And he proposed to your sister Maria Pavlovna, wrote her a letter asking her to respond to his proposal of marriage. She showed you this letter, and after your conversation with Levitan you remained friends, but he made no more attempts to ask for your sister's hand in marriage.
And all the men who courted her and were at your home - famous painters, playwrights, poets (some of them courted her too), you dismissed them all, all of them! And she lived to be 93 after you, basically, and never got married or built her own happiness as a woman, devoting everything to your legacy. What can you connect this with? You didn't see a worthy match for her? Although you loved her very much, like a sister.
Irina (Chekhov's Spirit): Yes, of course, I loved her and protected her like an older brother. That's why I talked to any of her admirers like an older brother and said that I would protect her, and I found out (shows) the seriousness of her intentions. Because she was such a very fragile, very subtle Soul that could be easily offended, hurt. I asked a lot of questions there about her material security, about her moral attitude, even about the past, what her past relationships with women were like. Because I really didn't want her, I protected her from the fate of an abandoned woman with children, or even not abandoned, and what's even worse - from the fate of her mother. As I already said, she had a difficult relationship with my father, her husband (she speaks very quickly in a stream, words are sometimes physically delayed).
That is why I was extremely careful and asked her to clearly define her feelings before taking responsibility for this Soul. Because I considered a man responsible for this decision: he should think very seriously, pray to God, and only if he is completely sure, then, as you say, propose. And even when such a proposal came (shows), I first suggested dating, to communicate without physical, sexual, marital relations, just to get to know each other. And only then, when she herself wants and is ready for a relationship, to enter into it. But at the same time I warned (no, I did not forbid them, but warned) that I would always be there, and if anything, my friendly relations with this man will not prevent me from protecting my sister, her honor.
Igor: I forgot to ask: have you ever fought in your life? Except for that incident you told me about.
Irina: There is no positive answer. There were just conflicts, but there is no positive answer.
Igor: Good. Dear friends, I think we've found out everything.
(remark from the audience) By the way, this was not asked.
2:36:28 Chekhov's spirit about a glass of champagne and disembodiment.
Igor: And about champagne. What is this mysterious glass of champagne? Because someone says that you asked for champagne, someone says that the doctor ordered it. Supposedly there was such a ritual between doctors, when one doctor understood that the other was about to die, he thus, by giving him a glass of champagne, let him know that the end was near.
Irina (Chekhov's Spirit): No, it's simpler. I felt it.
(Irina) Shows a very strong heartbeat and shortness of breath, cough. When coughing, clots of blood fly out onto his clothes. I see this picture. Shows the last few minutes. Because when you ask about leaving the incarnation, he begins to transmit these memories and emotions to me, this is inevitable during contact. These are images that he saw himself, what he felt.
I'll try to translate it now, because he has slightly different emotions than I do. Fear of not having enough air, coughing, trying to cough, chest pain, and it shows how he sees blood on his clothes and understands that it's the end.
(Chekhov's Spirit) Yes, I understand that I will not survive this next attack, that is, the understanding comes that death is next to me, like a living creature that is looking at you. It has a look that makes even the leaves on the trees wither. It looked at you - and your body lost its strength, that's the feeling. I already said that I reached the 21st level, but my emotions were in my body, this program - to live, instinct. I felt fear, but at the same time I understood that it was no longer my fear, but my body's. Such a separation, a change in consciousness. I looked at this blood, at Olga running around (shows) (and next to some young man - I can now see through his eyes).
I looked at them simply as if from the outside, there was such a detachment, but at the same time I felt that I was still in the body. And then I realized that I needed to remove the fear so that I could leave peacefully, without suffering. I realized that this was inevitable, I realized that death was near. And I realized: in order to remove the fear, I needed to drink champagne, because I always loved wine, I loved champagne in companies: it always removed my fears. Just a small amount, a glass of champagne - and I felt relaxed and calm. It is a sedative, so to speak.
I was, in general, a connoisseur of expensive wines. In certain companies at dinner, I understood, by the way, many types of wine, I could even tell by taste where it was grown and what year. And so I resorted to my usual method - I asked to give me a glass of champagne, just to calm down. I realized that this was my heartbeat, panic, they would not let me calm down, pray to God and accept the inevitable end of my mortal body. And they brought it to me, I asked for it myself (he shows: a hand gives him a glass, but he does not even see whose, because he is looking only at the glass).
I see my hand, which is shaking, reaching for the champagne. I understand that I am afraid of missing the glass, but then I still squeeze it so tightly that it seems like I am about to crush it. I take a few sips, I don’t even feel the taste, I just feel a chill in my throat and stomach from the cold champagne. And after that I lay down (demonstrates how to sit on the bed and lie on my side).
Someone takes the glass from my hands and strokes me. I open my eyes and see Olya. Immediately I feel a wave of warmth coming from my stomach throughout my body. I begin to calm down, and at the same time I feel that my breathing does not give me satisfaction. I feel like I am suffocating, but I no longer care. I close my eyes and say: "I said goodbye to everyone who was in the room." Someone else has already entered (shows that there is panic).
I whispered that I was dying and that I loved everyone. I thanked everyone, I whispered: "I thank everyone, I love everyone, and I leave you." I did not say that the body was dying, but I said: "I am dying."
After that I closed my eyes and thanked God for this life, asked Him (shows that this was already his faith).
I already had faith that He would meet me, and I asked Him to accept me. After that, I began to lose the feeling of my body. It was a very strange feeling, as if you were dissolving, as if you were losing your boundaries. The fear returned again for a short time, I thought: "That's it, now I will not be here, as if I had never existed." But I removed this fear with an effort of will, I said: "Trust God."
After that I saw a bright flash of Light right in front of me, like an explosion, like fireworks. And the next moment I was near the bed and was already looking at my body. I looked at myself: I was taller (shows), even than my physical body. I was up to the ceiling in height, and I had wings. And I realized that I could fly. I realized that I could move freely wherever I wanted. I looked at my body again (it looked like this: shows that blood was flowing from the corner of my lips, and there was blood on my clothes, and my wife was crying, she put her hands up and was crying).
I looked at my body and asked myself: “Well? Do you want to come back here?” And I felt such disgust and rejection, as if, for example, someone were to ask you now: “Do you want to go into a locked closet under an iron lock?” You are free! And then they tell you: “Do you want to live there?” Of course, I said: “No, I’ll fly wherever I want.” And I immediately felt such regret: “What about Olya? What about Mom (she was alive at that time)? What about my sister, those brothers who were there, my family?” And I immediately felt the following thought: “They will come here too. Don’t be sad about them.”
I turned around and saw two shining figures who were stretching out their hands to me and saying, "Hello, brother, we are glad to meet you in your eternal home. Come with us, we will show you everything." After that, I went with them and found myself on the 21st level, where they lived, because it was for me that the Guide Angels came.
Igor: Dear friends, I think this is the best ending to our meeting today. Anton Pavlovich, let me thank you. We send you the Light of our Love.
Irina (Chekhov's Spirit): Thank you.
Igor: Thank you, thank you for incarnating with us on Earth! Thank you for everything you have done! Thank you for what you are doing now! Please, don’t abandon us.
Dear friends, thank you Ira for the phenomenal program. Thank you very much!
Igor: Thank you to the Cassiopeia project for giving us such a unique opportunity. Thank you for coming.
Irina: Thank you, dear friends! Thank you Igor! Thank you, the Spirit of Anton Chekhov!
It was very interesting for me to transmit this information. There were very interesting answers, sometimes unexpected, but they were. I thank Anton's Spirit. I thank my Higher Self for helping with this contact, my curators who called him, and you all, every Soul that came, honored this Spirit with your attention, sent him Light, I also feel it very much. I wish you all an increase in your spiritual level and, of course, a happy New Year!
Irina Podzorova is a contactee with extraterrestrial civilizations, with subtle-material civilizations and with the Spiritual world;
Igor Lebedev – host, manager of Bryusov Hall;
Anton Chekhov is the disembodied Spirit of the Russian writer, prose writer, playwright, publicist, doctor, and public figure in the field of charity.
