Shadows of the Flesh: Visualizing past lives 2

 To read part 1, go HERE

What if the feeling of having lived before isn't entirely new?

“If it be true that the living come from the dead, then our souls must exist in the other world, for if not, how could they have been born again?” - Plato — Phaedo (c. 4th century BCE)

The question of whether past lives are real is not confined to ancient beliefs or spiritual traditions. It has also been investigated in modern times. Among the most unusual cases are those involving people, particularly young children who have spontaneously claimed to remember previous lives, sometimes describing people, places, events, and circumstances that they could not consciously remember experiencing in their present lives.

These accounts raise a fascinating question:: Are these memories evidence of a life lived before, or can the experiences be explained by something else?

For decades, researchers have tried to investigate that question. One of the most prominent was psychiatrist Dr. Ian Stevenson, who devoted much of his career to documenting and studying cases involving children who claimed to remember previous lives.

Decades later, researchers at the University of Virginia continue to study these cases, asking what may lie behind the memories, behaviors and recognitions reported by these children.

So, what happens when someone remembers a life they were never supposed to have lived?

Dr. Ian Stevenson: Reincarnation studies

Dr. Ian Stevenson was a highly respected mainstream medical doctor, psychiatrist and physician before shifting his focus to parapsychology in mid-career. Despite graduating from the Washington Psychoanalytic Institute in 1958, Stevenson grew deeply skeptical of orthodox Freudian theories. He openly challenged the idea that human personality is exclusively shaped by early childhood experiences. At the University of Virginia, he eventually founded the Division of Perceptual Studies, pivoting his life's work toward the scientific investigation of parapsychological phenomena. He became internationally renowned for investigating thousands of cases of young children who claimed to remember past lives, compiling his findings in landmark books like Twenty Cases Suggestive of Reincarnation.

Stevenson grew to believe that traditional genetics and environmental factors could not fully explain why people develop specific phobias, unique personalities, or congenital birth defects. This led him to look into parapsychology, eventually publishing his first major paper on past-life memories in 1960 and stepping down as psychiatry chair in 1967 to focus entirely on his new research.

Shadows of the Flesh: Visualizing past lives

Apart from whatever religion you might be, you can't deny that there are still great mysteries about the human being that science can't discover, one of the reasons for this is that these mysteries are not a tangible/ physical thing to experiment with.

The soul is our essence, but where does it come from, and where does it go after our physical body is gone?

According to my religion: The Catholic Church teaches that God breathes a unique, immortal soul into every human being at the moment of conception. The soul does not exist before this moment (pre-existence is rejected), nor is it a physical product of biology.

The Breath of God

The foundational imagery of the soul's origin comes from the very beginning of scripture, where God infuses life directly into humanity.

Genesis 2:7 "Then the Lord God formed man of dust from the ground, and breathed into his nostrils the breath of life; and man became a living being."

The Catholic Church teaches that at the moment of death, the soul separates from the physical body. It immediately undergoes Particular Judgment, where its eternal destiny is decided based on its faith and actions during life.

Hebrews 9:27 "And just as it is appointed for men to die once, and after that comes judgment..."

The soul goes to its reward or punishment immediately after death:

1. Heaven

2. Purgatory

3. Hell

I believe it but I am a simple mortal, so I also believe that through history MEN probably changed religion, meanings and words for their benefit. So it is not wrong to believe that a concept like reincarnation or past life is attached to religion ( like these ones ).

Every time I take photos of places, monuments, or things that were made and belonged to a past era, I always feel attached to them, not only because I love past eras in terms of aesthetics, culture, society, lifestyles, etc., but also because I somehow feel connected to them. I have found online articles that discuss signs that your soul has reincarnated or that you lived a past life. Bear in mind that there are 2 theories: whether your soul might have reincarnated in the same body, thus you are repeating your life again and again until you learn what you are supposed to learn, or your soul reincarnates in different bodies and different eras.

-Signs your body has reincarnated : ( for more go here )

1. Recurring dreams.
2. Out of place memories.
3. You have a strong intuition.
4. Deja Vu.
5. You are an empath.
6. Precognition.
7. Retrocognition.
8. You feel older than your age reflects ( or maybe younger, hence you died at a young age).
9. You have a great affinity for certain cultures/time periods/environments.
10. Unexplained fears or phobias.
11. You feel as though this earth is not your home.

 here.

Reincarnation:

It was also known as “metempsychosis” and “transmigration”. Reincarnation and the concept of past lives have existed for thousands of years, spanning the ancient Celtic, Greek, Asian, and Indian traditions.

It was likely that indigenous tribes and oral cultures around the globe held beliefs about rebirth much earlier, the transition from abstract spiritual concepts into structured, written philosophy happened in a few specific texts, these are the earliest written records:

1. The Earliest Records: Ancient India (c. 800–600 BCE)

The oldest explicit, fully conceptualized written descriptions of reincarnation known in Sanskrit as Punarjanman (rebirth) or Samsara (the continuous cycle of life, death, and rebirth) are found in the Early Upanishads, which are ancient philosophical Vedic texts.

2. The Earliest Western Records: Ancient Greece (c. 500s BCE)

In the West, the concept was called metempsychosis (the transmigration of the soul). It popped up roughly a century or two after the Upanishads.

Wiccans:

Wiccans and many modern witches believe in a unique synthesis of the two concepts: the soul moves on to a beautiful resting place, stays there for a while to reflect and regenerate, and is eventually reincarnated into a new life.

Suicide in the Trenches by Siegfried Sassoon

 

Credit: Life on The Seventh Cloud and Foto Cordero

Suicide in the Trenches

I knew a simple soldier boy

Who grinned at life in empty joy,

Slept soundly through the lonesome dark,

And whistled early with the lark.

-----------------

In winter trenches, cowed and glum,

With crumps and lice and lack of rum,

He put a bullet through his brain.

No one spoke of him again.

-----------------

You smug-faced crowds with kindling eye

Who cheer when soldier lads march by,

Sneak home and pray you’ll never know

The hell where youth and laughter go.

This poem is very straightforward about its content. It tells us about a boy who could have been anyone: where he was, what happened to him, and then, at the end, a warning.

Usually, poems and texts about war speak about heroism, goodbyes, Country, patriotism, sacrifice, and pride. Sassoon does something very different. He shows us an ordinary young soldier, describes how the war destroys him, and then turns directly toward the people at home who celebrate the war.

The poem has 3 parts:

1. Before the war, there was an ordinary boy 

2. The trenches destroy that simple world

3. People need to face the reality: YOU

We are reading about a soldier boy, not a hero, not a special man, not the patriot we should all look up to. He is alive, enjoying the simple things that surround him. The second part is the cold and raw reality of the war, the soldiers and what desperation looks like. No heroes, no cheering, no fireworks, just a bullet through his brain, the sound of a gunshot. Finally Sasson, Sassoon wants to talk directly to the readers, the ones who are alive, the ones who cheered when the "lads" marched off to war, but these people didn't face death, coldness, hunger, and fear.

There is also an important historical context surrounding suicide and military service. During the First World War, suicide and other forms of psychological collapse could carry enormous stigma, and the way a soldier's death was classified and treated depended on the circumstances and the military authorities involved. We should therefore be cautious about treating every wartime suicide as having been handled in exactly the same way.

The first and final parts of the poem are so closely connected. The boy begins with laughter and a carefree relationship with life. The trenches take that away. 

I believe Sassoon must have been angry; he is saying that he saw what the people were cheering for. How frustrating, to say the least,  must have seen young lads trying to escape, trying to find a way out of the hell of war, but no one understands; they just want to punish them.

What happens when a society sends young men into hell, celebrates them as they leave, and then looks away from what happens to them there?

 

Siegfried Sassoon

The Silence of Grief ( Elizabeth Barrett Browning)

 

Frederick Elwell’s work, The Wedding Dress (1911). 

The previous painting was created 10 years after the Victorian era officially ended. Yet in many ways, Victorian society did not simply disappear with the end of Queen Victoria's reign. After 40 years living under a monarch who was deeply associated with mourning, propriety, and traditions, many Victorian customs remained deeply rooted in British society long afterward.

 The Queen was an important and the most influential public figure of her time; royal life had long been observed the public and chronicled. Monarchs often became cultural compasses, influencing everything from fashion and etiquette to social behavior and, in Victoria’s case, mourning.  Her public mourning reinforced the idea of how a widow should dress, behave, and publicly express or contain her grief.. This is why many customs associated with the Victorian era survived beyond the period itself and eventually became traditions.

Read more about Victorian customs: Here

GRIEF

ELIZABETH BARRETT BROWNING 

 I tell you, hopeless grief is passionless; 

 That only men incredulous of despair, 

 Half-taught in anguish, through the midnight air 

 Beat upward to God’s throne in loud access 

 Of shrieking and reproach. Full desertness, 

 In souls as countries, lieth silent-bare 

 Under the blanching, vertical eye-glare 

 Of the absolute heavens. 

Deep-hearted man, express Grief for thy dead in silence like to death 

— Most like a monumental statue set 

 In everlasting watch and moveless woe 

 Till itself crumble to the dust beneath. 

 Touch it; the marble eyelids are not wet: 

 If it could weep, it could arise and go.

A young woman wearing a veil and black clothing mourning at a tombstone, with her dog attending on he by C. Hancock, 1836.

What does grief look like when it has nothing left to say?

Psychology has developed multiple models, and modern grief research generally does not consider grief a fixed sequence that everyone passes through. The American Psychological Association explicitly says there is no “normal” timeline and that people should not expect to pass through grief in progressive stages.

The famous 5 stages by Elisabeth Kübler-Ross

Denial — “This can't be happening.”

Anger — “Why is this happening?”

Bargaining — “If only…” / “Please, God, if you could just…”

Depression — confronting the reality and pain of the loss.

Acceptance — beginning to acknowledge and live with the reality.

They were developed by Swiss-American psychiatrist Elisabeth Kübler-Ross and published in her 1969 book On Death and Dying. Importantly, however, Kübler-Ross originally developed the model from interviews with terminally ill patients, describing their responses to their own impending death. It was subsequently applied much more broadly to bereavement and other losses.

And this is crucial: they were never meant to be a universal five-step recipe for grieving. The APA describes the model as nonlinear: stages can overlap, recur, or occur in a different order.