The mystifying tale of a past life in ancient Egypt

We have posted about this incredible woman and story before, but it’s always worth another dive in, particularly because this is the story that inspired M.J.’s interest in reincarnation and sparked her muse for The Reincarnationist series

 

Omm-Sety

 

From Ancient Origins,

 

Omm Sety – A British Woman Whose Life Was Lined by Reincarnation and Connected to a Pharaoh

 

“When Dorothy Eady arrived to Egypt for the first time, it was obvious to her that she had been there before. But her last visit near the Nile may have taken place thousands of years earlier.

 

Dorothy was born on January 16, 1904 in the London suburb of Blackhearth. Doctors believed that she would not survive a terrible fall when she was three years old. However, it seems that the accident she faced was the beginning of her unbelievable life – a moment of opening the gate to the memories of a past life. Over the years, many skeptics tried to disprove Eady’s mystifying tale, but nobody could ever fully negate that she was one of pharaoh Seti I’s (c. 1290 – 1279 BC) lovers.

 

An Ancient King’s Lover?
Dorothy grew up in a Christian family and she attended church regularly when she was young. One day, her parents took her to the British Museum. While looking at the photograph of the temple of Seti I, a pharaoh of the 19th dynasty of the New Kingdom Period (and the father of Rameses II), she said that it was her home. She couldn’t understand why there were no gardens and trees around the temple, but she recognized the monuments and other artifacts in the rooms of the Egyptian collection. She kissed the feet of the statues, and very soon after, decided to study ancient Egyptian hieroglyphs.

 

One of her teachers was the famous E.A. Wallis Budge, who encouraged her to study the history of ancient Egypt. Dorothy was 15 years old when she described the first dream “meeting” she had with the mummy of Pharaoh Seti I. She claimed that he made her remember her past life. With time, she turned more and more to the ancient religion and stopped feeling attached to Christianity…”

 

For the rest, click here.

 

 

 

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The Magic Roses (1906)

For this very hot day, please enjoy The Magic Roses….

 

“A film by the pioneering Spanish film director and cinematographer Segundo Chomón. With his innovative use of early splice-based tricks and a penchant for optical illusions he is often compared to the slightly earlier Georges Méliès, and indeed has been dubbed “The Spanish Méliès” by some. Though the similarities are clear, Chomón departs from Méliès in his variety of subjects and his use of animation, an art form he played a key role in developing. In this beautifully coloured short (using Pochoir, a type of stencil process), originally titled Les Roses Magique, a bouquet of roses gives birth to a whole unexpected world, played out against a wonderful floral backdrop…”

 

From The Public Domain Review (1906)…

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Frankenstein’s Endless Winter

Human-caused climate change has claimed its first mammalian victim.  R.I.P. little island dwelling melomys critter.

 

200 years ago we had a sudden climate change due to an erupting volcano. Nothing went extinct that we know of, but Frankenstein was born….

 

Detail from a hand-colored engraving of Byron’s Villa Diodati on the shores of Lake Geneva, by Edward Francis Finden, ca. 1833, after a drawing by William Purser

Detail from a hand-colored engraving of Byron’s Villa Diodati on the shores of Lake Geneva, by Edward Francis Finden, ca. 1833, after a drawing by William Purser

 

From The Public Domain Review,

 

Frankenstein, the Baroness, and the Climate Refugees of 1816

 

It is 200 years since “The Year Without a Summer”, when a sun-obscuring ash cloud — ejected from one of the most powerful volcanic eruptions in recorded history — caused temperatures to plummet the world over. Gillen D’Arcy Wood looks at the humanitarian crisis triggered by the unusual weather, and how it offers an alternative lens through which to read Mary Shelley’s Frankenstein, a book begun in its midst.

 

Deep in our cultural memory, in trace form, lies the bleak image of a summer 200 years ago in which the sun never shone, frosts cruelled crops in the fields, and our ancestors, from Europe to North America to Asia, went without bread, rice, or whatever staple food they depended upon for survival. Perhaps they died of famine or fever, or became refugees. More likely, no record remains of what they suffered, except a faintly recalled reference in the tattered rolodex of our minds. 1816 has, for generations, been known as “The Year Without a Summer”: the coldest, wettest, weirdest summer of the last millennium. If you read Frankenstein at school, you probably heard some version of the literary mythology behind that year. Mary Godwin (later Mary Shelley), having eloped with her poet-lover Percy Shelley, joins Lord Byron on the shores of Lake Geneva for a summer of love, boating, and Alpine picnics. But the terrible weather forces them inside. They take drugs and fornicate. They grow bored, then kinkily inventive. A ghost story competition is suggested. And boom! Mary Shelley writes Frankenstein.

 

Given this terrific story behind “The Year Without a Summer”, how strange that interpretations of Shelley’s novel almost entirely avoid the subject of 1816’s extreme weather. Call it English Department climate denial. More tellingly, our too-easy version of Frankenstein — oh, it’s all about technology and scientific hubris, or about industrialization — ignores completely the humanitarian climate disaster unfolding around Mary Shelley as she began drafting the novel. Starving, skeletal climate refugees in the tens of thousands roamed the highways of Europe, within a few miles of where she and her ego-charged friends were driving each other to literary distraction. Moreover, landlocked Alpine Switzerland was the worst hit region in all of Europe, producing scenes of social-ecological breakdown rarely witnessed since the hellscape of the Black Death….”

 

For the rest, click here to go to The Public Domain Review.

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