Play music
Updates

 

Updates

3/30/17

Previous entry, I said that researching my past-life match as Mathew Franklin Whittier, in the 19th century, was like "shooting fish in a barrel," precisely because it's a real case. I just recently ran into a good example--but to fully do it justice, I would practically have to write another book. That's because, as I also tried to explain last time, it's a domino effect. One thing leads to another. And again, this can't help but happen with a real case, because everything is interconnected. Let me try to summarize my latest example, without going into too much detail. I have to go into detail, in my book, because I'm trying to prove the case. Here, don't make the mistake of thinking, "That's all he's got." I've got it, alright. I have all my rigorous "i's" dotted and "t's" crossed.

The meme which goes, "Reincarnation can never be proven" is, indeed, bullshit.

Okay, so, I discovered on Ebay, seemingly by accident, the final installment of a series of letters to an 1837 editor, rebutting an anti-abolitionist's 10-part series. This is in a town where I know Mathew, and his wife Abby, lived at the time. It is signed "Kappa, Lambda, & Mu." I know that Mathew, as a humorist/philosopher, had a penchant for clever names with hidden meanings. Looking up these Greek letters (they were responding to someone signing "Alpha & Beta"), I found references which clearly suggest their authorship. "Kappa," the Japanese river sprite, is Abby, who grew up within view of the Merrimack River, in East Haverhill, Mass. "Lambda," the Spartan shield, is Mathew, who was very emotionally guarded, but could poke fun at himself about it. "Mu" was their first son, Joseph, who was born while the series was in-progress (with a hiatus for the birth itself, of course).

This series, and its pseudonyms, had other tie-ins with previous discoveries, which I won't go into, here. All this is by way of wrap-up from recent entries (of course, you have read them all!).

But on the same page as the ending of the last number of this series, in the Oct. 31, 1837 edition, is a poem, signed "VICTORIA." I know, from multiple examples, that Mathew's various contributions--of his own work under different pseudonyms, and also clippings from other authors which he would send in along with his own submissions--tended to end up together on the same page. Sometimes, he seems to have requested that they sit directly above, or directly below, his main submission. Sometimes, it may simply have been a matter of convenience for the typographer, picking them off a stack and fitting them in as he could.

I also have several examples of Mathew's style of poetry, including under a pseduonym which I can absolutely prove was his, "Poins." He appears to have used "P" as early as 1831, but he definitely used "Poins" in 1842 and '43, starting the year after Abby's death in March of 1841.

In addition, for some years, now, I have felt clearly that Abby especially admired Queen Victoria. I had nothing really to go on, except that Abby, herself, appears to have been descended from French royalty, and looks the part in the one portrait I have of her. And that she was socially progressive. I am not really sure whether this information came from my own past-life memory, or directly from spirit contact with Abby, today. I would guess she gave me the feeling of it, and that re-awakened my past-life memory a bit. At any rate, I had no objective evidence for it, until now.

This poem is not in Abby's style; rather, it is very clearly in Mathew's. However, the subject matter would be hers, or rather, would be shared--but it would be from her vantage-point. This is a poem about Salome asking Jesus to place her sons on His "right and left hands." Jesus answers that for this, they must live His life of suffering. Clearly, these thoughts are consistent with a deeply religious new mother of a first-born son, who is experiencing shunning in a small town for her anti-slavery views and her esoteric Christian beliefs. Especially, given that their too-easily-deciphered, playful pseudonym, "Kappa, Lambda & Mu" is attached to a series of devastatingly logical anti-slavery letters which have just concluded.

This is in Dover, New Hampshire. They left town a month or two afterwards, as we find Mathew working for a newspaper in Amesbury Mills, Mass. by December of that year. We know he worked there from a reference in a letter Mathew wrote to his brother; and we know they are there by mid-December, because of another jointly-written poem, this time signed with a portion of Mathew's initials, "F.W."

But I got this impression, that Abby loved Queen Victoria, years ago, sans most of this evidence. It just came to me, as I recall, while I was attempting to "converse" with her, trying to catch her thought-bursts. It was an impression, carried on the "signal" of her presence, is the best I can describe it. I don't remember the context, or whether there was, in fact, any context. Sometimes the thoughts she gives me are "out of the blue," sans context. I just felt it, and started reporting it.

I'm curious--let's see if I can find a reference to it, either in this blog, or in the one I have been channeling for Abby, for some years now. If so, let's see how early it is...*

Okay, the very first time I attempted to channel her publicly, within this blog, I listed some of the movies that I felt she had prompted me to rent, and one of them was "The Young Victoria." This is the August 13, 2010 entry. My first formal contact with Abby occurred through a medium on March 10, 2010.

Then on Jan. 7, 2012, I channeled her saying the following:

My ideal was Queen Victoria and her husband, Albert. Matthew's ideals came from his reading, and what he had imbibed from Quakerism, i.e., the founders of that movement. There is a great spiritual power hidden in aristocracy. What you probably know or feel about aristocracy is its distorted reflection. Those who inherit a social movement almost inevitably ruin it. This is as much true of aristocracy as it is of religious movements.

At the time I channeled this, I hadn't looked up the date of Queen Victoria's marriage, which was Feb. 10, 1840, about a year before Abby's death from consumption. The Queen had ascended the throne on June 20, 1837, or about five months before this poem signed "Victoria" was published.

Now, because I have tried to keep track of the date of every discovery, I probably could go back and eliminate, as prior influences, most if not all of the relevant discoveries I've cited, above. I'm pretty sure I had not found Mathew's early poetry (and hence, did not know his style); I may not have known they lived in Dover, and certainly I hadn't proved it nor did I know that they had ever submitted to the paper, there. Technically, I may have known that Mathew worked for the "News and Courier" in Amesbury, because of that letter to his brother (though I didn't know what it was); but I hadn't found the poem he submitted under "F.W." I probably had some idea that Mathew loved anything to do with ancient Greece, and that he loved playful, meaningful pseudonyms. I didn't know that Mathew, while in London, had made it a point to elbow his way to the curb, in a crowd, to get within eight feet of Queen Victoria and Prince Albert as they rode by in a carriage, 10 years after Abby's death (probably, in fulfillment of a promise to her, or in honor of her admiration of them). Of the Queen, Mathew wrote:

We a few days since had the pleasure of seeing Her Majesty Queen Victoria, and we must say that we were disappointed in her personal appearance, and we have more fully come to the conclusion that no two persons can see alike as to beauty. We shall write our own opinion, and if it does not coincide with that of others, they of course have the same privilege to express theirs. We think that Virginia is a very handsome woman, her features well-formed and expressive of intellect and goodness. We had heard so much about her plain and masculine features, that when we stood within eight feet of her, and saw distinctly every muscle of her countenance, we could only express a feeling of wonder that there should be so great a diversity of opinion on so good and noble-appearing a woman. The occasion of our seeing her was the prorogation, or closing of Parliament. The Queen left her Palace, at the west part of St. Jame's Park, proceeded through the Park to the House of Lords, read her address, and returned by the same route within the hour.

(This literary trick of being "favorably disappointed" is one of Mathew's favorites, which he uses several times throughout his career. Apparently, "disappointed," in that era, still could be interpreted positively or negatively, meaning that it wasn't what you expected.)

We see, here, that I definitely had been given this impression by Abby as of early 2012--but I think it actually went back further. I did not know it, however, in the very early days when Abby was prompting me to rent and watch movies, which seemed to be giving me a quick education on our earlier relationship. I didn't know why she would have prompted me to rent "The Young Victoria." In fact, I had completely forgotten about it until I looked it up, just now. Clearly, this is Abby's ideal of soul-mates, and her prompting me for it meant not only that she had once admired them, but that this is how she viewed our marriage, as well.

Yes, I could have guessed this one. But I couldn't have guessed everything I intuited, and recorded by date of impression vs. date of historical discovery, in my book. And a few of my clearest and most detailed memories stand alone as being impossible to have guessed, period.

Does this give you an idea of why my book is so long, and yet, so fascinating? It all fits togther; and you can't appreciate a tapestry like this, until you are immersed it in to the point that you can step back and see the entire picture. Just sharing a tiny piece of it, like this, would be like examining a tapestry with a magnifying glass, and then pronouncing, "That's not so great. Where are the elephants, and the water falls, and the horses, and the bridges?" Well, I'll tell you where they are--they're in the rest of the work, that you're not seeing because you aren't immersing yourself in the totality of it.

Suppose that I told you I had a magnificent tapestry of a queen with her hand-maid. I showed you this detail, with a dog and a lion's foot, and offered it for a mere $12.00--and you told me you didn't believe me, that there is no such thing--and if there were such a thing, an expert would have said so, and it would cost $3,000 instead of $12, so this has to be a hoax. That, in effect, is what you're doing to me... (And by the way, the expert won't admit what it is unless his career will remain safe in doing so, and preferrably, it makes him money or raises his professional standing.)

Best regards,

Stephen Sakellarios, M.S.

*For you die-hard skeptics out there, any time I write off-the-cuff, in real time like this, it isn't a literary device. I am honestly doing what I say I'm doing. As I was writing, it occurred to me to check my back entries, and I shared the thought, and the exploration, with the reader as I did so. This is true for every instance you see of me doing this, in these journals. I never work it backwards and make it appear that I did it in real time.

Updates Archive

 

Music opening this page: Love theme from the film, "Young Victoria"
by Sinead O'Connor

 

 

purchase VHS and DVD copies of documentary reincarnation stories streaming video interviews links to reincarnation related sites home