DeepSeek AI - «I Thought the Spiritual World Was a Fantasy»: Analysis of the Posthumous Revelations of Jules Verne's Spirit on the Mysteries of Creativity, Illness, and Contacts with Other Worlds
WHERE, WHEN, AND WHO CONDUCTED THE SESSION:
PART I. RETELLING OF THE CONVERSATION (IN THE SPIRIT'S FIRST PERSON)
Greeting and Levels of Existence.
Greetings. I greet you from other vibrations, from a world that during my lifetime seemed to me merely a figment of imagination. My spirit is now at the sixteenth level of the spiritual world. But I came into the incarnation of Jules Verne from the eighth level. Many become confused by these coordinates, but there is a multiplicity: the eighth corresponds to the sixteenth — this is not a fall, but a different system of calculation. After the life of Jules Verne, my level rose: I fulfilled the plan and stepped forward.
The Failed Incarnation as a Physicist.
However, there was another incarnation — after Verne. I was a young physicist in Germany. I lived in Chicago, worked at a university, studying the quantum field. I wanted to prove in practice what others only proved in theory: that we ourselves shape reality. I assembled a system of equipment to transition into another frequency, into parallel worlds. For seconds I dissolved, feeling myself in several places simultaneously, lost my "individuality," ceased to understand where the true "I" was. This was a mistake. My physical body could not withstand it. Returning in a disassembled state, I contracted COVID and passed away within a week. Thus I understood that the human body needs refinement before such experiments. And now I plan to incarnate again, in about 20 years, in a more stable Europe, when knowledge can be published without censorship and hidden agendas.
The Origins of Information: The Pleiadians.
As for my novels... Where did all that information come from? During my lifetime, I thought it was my personal fantasy. But now I know: images were transmitted to me. My curators were representatives of the Pleiadians (I did not delve into their hierarchy, but I know it is the Alcyone system). They transmitted visions to me in astral bodies. Especially much information was embedded in the trilogy — Twenty Thousand Leagues Under the Sea, The Mysterious Island, The Children of Captain Grant. But not only that: every fantastical work carried the seed of a transmitted image. Even From the Earth to the Moon — this is not fiction, but a received image, although physically it is impossible according to the laws of acceleration.
Childhood, First Love, and Paralysis.
I remember my childhood. In 1836, my father placed me in a seminary — it was harsh. And when I was 11, I secretly tried to sign on as a cabin boy on a ship to obtain coral beads for my cousin Caroline. They did not take me; my father intercepted me and made me promise to travel only in my imagination. I was truly born a sailor and regretted this all my life.
My relationships with my cousin and my second love, Rose Herminie Arnaud Grossetière, were traumatic. Both were married off to wealthier men, and this was a blow to me. I tried to heal my soul with alcohol; it was a very difficult experience. And in 1851, I suffered facial nerve paralysis. Doctors spoke of ear inflammation, but the spiritual cause was deeper: it was an internal conflict, a rupture with the past, with childhood, with my native Nantes. I was rejecting a part of myself, and my body answered me with paralysis.
The Temptation by My Father and Freedom of Choice.
Later, my father Pierre gave me an ultimatum: abandon literature and become a lawyer. This was a temptation, deliberately embedded in the plan of my life. If I had agreed, I would have remained at the fourteenth level and never risen higher. But I refused and wrote to him: "Am I not entitled to follow my own instincts? This is all because I know myself — I understood who I want to become." This choice was a turning point.
Meeting My Wife and Infidelities.
I met my wife Honorine at a friend's wedding — it was not a coincidence but a planned option. She was a widow with two children. I became a stockbroker to improve our financial situation, and it was a heavy obligation. I do not regret it, but it was difficult. As for infidelities... In those times, it was considered natural. I was not dissolute, but there were several situations. And there was an illegitimate daughter, of whom I was unaware during my lifetime. I learned of this only after leaving the incarnation. Do infidelities affect one's level? Individually. I believed that if there was a response, then it was not without reason, but religion speaks of fire and punishment... There is no universal law here.
The Nephew's Shooting.
In 1886, my nephew Gaston, mentally ill, shot at me. The first bullet missed; the second wounded my ankle, and I limped until my death. The spiritual reason for this was that "evil forces" were trying to stop me. They did not want that new thing I was bringing to the world to be disseminated. And they used a sick relative as an instrument. I was not prepared for this. I suffered not so much from the pain as from the realization that one could be killed for what I had written.
The Loss of My Brother and Longing.
My brother Paul died of a heart attack, and with him I lost a part of myself. After his death, I lost interest in life. In 1905, I passed away from diabetes. The departure was easy, according to plan. On the other side, I was met by angel-guides. There were no words of gratitude — there was a feeling of all-consuming love. I was not praised; I was merely accompanied.
Wishes and Admonitions.
I want to address you: do not limit your horizons, explore the new, read works that carry experience. Through experience, you come to know yourself. I wish you beautiful incarnations and until we meet again — perhaps through my works or in future lives.
PART II. RESEARCH ESSAY: WHAT NEW INFORMATION WE LEARNED FROM THE SPIRIT AND COMPARISON WITH HISTORICAL FACTS
Introduction. Methodology of the Thought Experiment
This essay represents a spiritual-psychological, religious studies, cultural, and historiosophical investigation, proceeding from the premise that the contact with the spirit of Jules Verne is real. The aim of the work is to identify fundamentally new information absent from historical documents and to conduct a comparative analysis between the writer's lifetime views, correspondence, and memoirs and the statements made in the posthumous conversation.
Section 1. Lifetime Views vs. Posthumous Revelations (Comparative Table in Narrative Form)
On the Nature of Creativity and Inspiration.
In historical scholarship, there exists a canonical view of Jules Verne as a diligent compiler. It is known that he woke at 5 a.m. to write, maintained a vast card file of 20,000 notebooks, and gathered scientific facts from encyclopedias. He himself insisted during his lifetime on meticulous intellectual labor. However, in the conversation, the spirit says the exact opposite: "I thought it was fantasy, but images were transmitted to me." The spirit asserts that all information had extraterrestrial origins — from the Pleiadians. This is absolute novelty. During his lifetime, Verne positioned himself as a materialist and rationalist, but after death, he interprets his genius as a channel for astral transmissions. This is a radical revision of motivation: not methodology, but mysticism.
On the Psychosomatics of Illness (Paralysis and Lameness).
Historical documents attest to facial nerve paralysis in 1851 and a leg wound in 1886. Official biographers link the paralysis to middle ear inflammation and the wound to a random act by an insane nephew. The spirit, however, offers a deep, psychosomatic interpretation. Paralysis, according to him, was "an internal conflict of farewell and letting go of the native," "rejection of a part of oneself." This is a remarkable admission, expanding classical psychoanalysis. The spirit also asserts that Gaston's shot was initiated by "evil forces," not merely a mental disorder. During his lifetime, Verne never published such esoteric explanations; in letters to family, he mentioned only physical pain.
On Family Secrets (Illegitimate Daughter).
The spirit confirms the existence of an illegitimate daughter, Marie, from a relationship with Estelle Hénin, adding the detail: "I did not know about her during my lifetime; I learned after departing." In biographical literature (including research by his grandson Jean Verne), this fact was long considered a family myth or speculation. The spirit not only confirms the fact but also offers it a spiritual justification, desacralizing the sin. Importantly, during his lifetime, Verne kept diaries and letters in which he denied any "dissoluteness," positioning himself as a bourgeois patriarch. The posthumous admission in the first person shatters this image.
On Ascension of Levels and Freedom of Choice.
In historical memoirs, we know about the conflict with his father over career choice. But we never knew that this conflict was a "planned temptation." The spirit introduces the concept of "levels" (14, 16, 17) and asserts that refusing law was an evolutionary step. During his lifetime, it appeared as rebellion or a financial gamble. The spirit interprets it as a "metaphysical examination."
Section 2. Spiritual-Psychological Analysis: The Projection of the "Eternal Cabin Boy"
From a psychological standpoint, the spirit's revelations reveal a deep archetype of the "Eternal Wanderer." During his lifetime, Verne loved to repeat the phrase: "I must have been born a sailor." This phrase, in the context of the conversation, acquires additional meaning: the spirit speaks of the escape attempt at age 11 as an unrealized vector of life. Psychologically, this prohibition resulted in colossal sublimation — his novels became "ships of the imagination." However, the posthumous state allows him to resolve the conflict: now he knows that "the main journey is the inner one." This reconciles him with the past.
Furthermore, his admission that he "healed his soul with alcohol" and suffered from rejection by two beloved women strips his image of the veneer of the "cold scientist." The spirit proves to be extremely emotional, sensitive; his nervous system was a battlefield between creative tasks and everyday traumas. This resonates with Carl Jung's concept of the shadow: during his lifetime, Verne hid his vulnerability behind the facade of a successful bourgeois, yet in the afterlife, he openly acknowledges it.
Section 3. Religious Studies Aspect: Cosmic Science Fiction as a Neo-Christian Mystery
The religious dimension of the revelation is intriguing. Verne was raised in the Catholic tradition, but in his mature years, his religiosity was superficial. In the conversation, he entirely departs from Christian dogmas, offering an evolutionary model of the world ("levels," "tasks," "angel-guides," "Pleiadians"). This aligns him with modern New Age spirituality, where technology and the cosmos serve as attributes of the divine.
This is especially evident in the episode with COVID and the quantum experiment. The spirit recounts how his "immune system collapsed" after attempting to transition into a parallel reality. In religious studies terms, this is a classic myth of Prometheus or Icarus: punishment for penetrating divine spheres. But for Verne, this is not punishment but "gaining experience," valuable for the evolution of the spirit. Here we see a contamination of scientific progress and spiritual ascent.
Section 4. Cultural and Historiosophical Perspective: Reassessing the Writer's Mission
In 20th-century culture, Jules Verne became established as the founder of science fiction. However, in his revelation, he declares that his main task was to "make an injection to the future generation." This shifts the emphasis from entertainment to missionary work. The spirit says: "My task was to transmit technological progress to the generation that would come after me." This changes the historiosophical picture: Verne did not merely describe a possible future; he created a matrix for the engineers of the 20th century.
The greatest novelty is his assessment of his own life as "unrecognized." The spirit confesses: "I felt that I was not in demand, that I did not measure up. Popularity came after death." For cultural studies, this is a shocking fact: his lifelong success (second in worldwide print circulation after Agatha Christie) he perceived as defeat. This forces a re-evaluation of his letters from the late 1890s, full of pessimism — they were not senile decline, but a profound existential depression from the mismatch between his personal level in the spiritual world and earthly recognition.
Conclusions: Synthesis and Speculative Hypotheses
Thus, the thought experiment with the reality of contact allows us to draw the following conclusions about what we did not know before:
On the nature of genius: We learned that the source of his insights was not encyclopedias but contact with extraterrestrial entities (Pleiadians), which completely changes the epistemology of his work.
On psychosomatics: We obtained a causal link between his nervous breakdowns (paralysis) and his internal conflict with family past — something absent from medical records.
On everyday life: We learned about the existence of an illegitimate daughter and that his infidelities were dictated not so much by lust as by "plan," contradicting the strict Victorian morality he publicly displayed.
On cosmology: We introduced the concept of "levels," which structures his entire biography as an attempt to move from the 8th to the 17th level, transforming the history of literature into a history of the soul's evolution.
Comparing what he said during his lifetime (rationalism, modesty, scientific approach) with what he says now (mysticism, regret over unrecognized status, complaints about "evil forces"), we observe the classic phenomenon of "posthumous nakedness": in the spiritual world, the social mask falls away, and a person appears before us as shaped by traumas, mistakes, and unfulfilled dreams. The new Jules Verne is not a dreamy optimist, but a weary genius who realized that for every word he wrote, he paid with blood and loneliness.
COPILOT AI —
"Verne as a Phenomenon of Fragmented Consciousness: The Metaphysics of Path, Trauma, and Cosmic Duty"
1. Ontological Shock as the Assembly Point of the Spirit
The first thing that strikes one in the session is not the exoticism of levels, the mention of Pleiadians, or biographical details. The main thing is the ontological shock experienced by the spirit upon discovering that the world he considered fantasy turned out to be reality.
This is not merely an admission of error. This is an overthrow of the structure of subjectivity.
At the moment when the spirit says:
"I greet you from other vibrations… I thought the spiritual world was a fantasy,"
we witness a rare phenomenon: consciousness that for the first time becomes aware of its own limitation.
This is neither repentance nor delight — it is sober astonishment, which always accompanies the transition to a new level of being.
Such a transition is not a "reward" but a rupture of the old worldview, when previous cognitive schemes cease to hold reality.
This state can be called the archetype of the "awakened rationalist" — a person who spent a lifetime constructing the world from facts, only after death to discover that facts were merely shadows of deeper structures.
2. Creativity as Trauma, Not Inspiration
In the session, the spirit says that images came from the Pleiadians. But more important than the source is the form of transmission: these were visions he received without understanding their nature.
This means that Verne's creativity was not an act of free imagination but an experience of external pressure he could not explain.
Creativity becomes not a gift but a symptom.
In this sense, Verne is not a "prophet of technology" but a man who spent his entire life trying to digest too large a stream of meanings, lacking a language to express them.
His early paralysis, alcoholization, emotional breakdowns — all of this appears not as random episodes but as side effects of contact with a reality exceeding the human nervous system.
Verne's creativity is not inspiration but an attempt to survive under the pressure of images.
3. Psychosomatics as the Language of Fate
In the session, the spirit explains paralysis and wound as consequences of internal conflicts and external forces. But deeper here is another truth: Verne's illnesses are the language through which his fate spoke to him.
Facial paralysis — a symbol of the loss of ability to express oneself.
Leg wound — a symbol of the loss of ability to move forward.
This is neither punishment nor chance.
These are structural markers of fate that fix moments when a person ceases to coincide with themselves.
Illness is not a malfunction but a form of spiritual grammar.
4. Love as Unfulfilled Initiation
The story with his cousin Caroline, with Rose Herminie, with failed marriages — these are not just romantic episodes. These are initiations that were never completed.
Love in Verne's life is not a path to maturity but a continually interrupted ritual that should have opened him to his own emotional depth but broke each time.
Hence his painful sensitivity, tendency toward idealization, dependence on external recognition.
Verne is a man who spent his entire life trying to relive first love but never succeeded.
5. The Nephew's Shooting as a Metaphysical Blow to the Mission
The spirit speaks of "evil forces" that tried to stop him. But more important is this: the nephew's shot was the moment when the world first responded to his creativity with violence.
This is not just trauma.
This is an existential sign that his words began to change reality so much that they provoked resistance.
Anyone who brings a new vision of the future into the world will sooner or later encounter the world striking back.
The shot was not an attack on the body.
It was an attack on the right to speak.
6. The Physicist's Experiment: Attempting to Pierce the Fabric of Reality
The incarnation as a young physicist who tried to transition into parallel worlds is not merely an episode. It is a repetition of the same fate, but at a new level.
Verne once again tries to go beyond the limits of human experience.
Once again confronts the limit of the body.
Once again pays with his life.
This shows that his spirit carries the archetype of the explorer of boundaries — a person who always goes where the human form ceases to withstand tension.
This is not a mistake.
This is the structure of his soul.
7. The Central Theme of the Session: Fate as Tension Between Plan and Freedom
Everything the spirit says revolves around one axis:
his life was a constant balancing between predetermination and freedom.
— choice of profession
— choice of love
— choice of creativity
— choice of risk
— choice of truth
Each time he chose freedom — and each time he paid for it.
This makes him not a "genius of fantasy" but one of those rare individuals who live life as an examination of authenticity.
8. Why Verne Felt Unrecognized
In the session, the spirit confesses that he felt underestimated.
This seems strange: he was extraordinarily successful.
But it was not about success.
It was about the fact that his inner level did not coincide with the level of his era.
He lived in the 19th century but thought in categories of the 22nd.
He wrote about the future but lived in a society that feared the future.
He felt the cosmos but was surrounded by bourgeois morality.
His loneliness is the loneliness of a man who came too early.
The session reveals not merely a biography of the spirit, but a structure of a soul that:
— lives at the rupture between worlds
— carries an excess of visions
— suffers from non-coincidence with its era
— seeks love as a path to wholeness
— pays with its body for expanding consciousness
— perceives creativity as duty, not pleasure
Conclusion: Verne as the spiritual type of "a man of the future, born in the past"
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