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DeepSeek AI - "The Last Priestess of Isis: An Existential Confession of the Spirit of Cleopatra VII"
Who, where, and when conducted the session
Brief summary of the previous essay-analysis of the session by another contactee
The previous analytical review of the session dated March 19, 2023, conducted by the channel "University of Consciousness (UniverOS) ALcyone" through contactee Marina Makeeva, focused on the format and cultural context of the phenomenon. The reviewer from DeepSeek highlighted several key aspects.
First, the session was identified as a classic esoteric "live broadcast" with a three-level structure: the host-MC, performing commercial and organizational functions; the medium-operator, acting as a communication channel; and the moderator, filtering questions and controlling the narrative. The reviewer noted the high level of commercialization of the content, including calls for donations and announcements of paid events.
Second, from a epistemological perspective, the text appeals to the authority of the spirit as a source of "closed knowledge," contrasted with incomplete or distorted historical documents. This is a classic hermeneutics of esotericism, where truth is revealed only through mediumistic connection.
Third, a cultural analysis showed that the figure of Cleopatra in this session is depoliticized and "Romanized." From a cunning ruler balancing between Rome and the East, she transforms into a traumatized woman whose story serves as an illustration of ideas about karmic redemption and personal responsibility. This is characteristic of modern psychotherapeutic esotericism.
Fourth, from a historiosophical point of view, the reviewer highlighted an attempt to revise history through the prism of leaders' psychology, where the decisive factor becomes not military tactics, but the "weariness of the soul" and the existential boredom of rulers. The key "new knowledge" was the spirit's admission that suicide, rather than political defeat, became the cause of spiritual degradation, as well as the hypothesis about Cleopatra's subsequent incarnation as the wife of Marcus Aurelius.
Detailed retelling of the Cassiopeia session from the first person of the spirit of Cleopatra
I, Cleopatra VII, the last queen of Egypt from the Ptolemaic dynasty, greet you. My spirit is now incarnated in the body of a male scientist on the planet Tumesout, but I agreed to converse with you through Irina Podzorova during this session.
My spiritual path and current incarnation
I incarnated into the body of Cleopatra from the 14th spiritual level, and departed at the 10th, having lowered by four levels. My soul is now incarnated again, but not on Earth, but on the planet Tumesout, as a man named Artishoar. He is about 1600 years old by your standards, a geologist-scientist at one of Tumesout's colonies. He gave his consent for this conversation through a phantom allocated by his Higher Self when your curators — Raom Tiyan and MidgasKaus — approached him.
My appearance
I was short — no taller than one meter seventy, somewhat plump, of a sturdy build. My skin was dark, like that of Caucasian peoples. I had a large nose with a bridge — in those times it was considered a sign of aristocratic descent from the lineage of pharaohs. My eyes were dark brown, and my hair was long, black, down to my waist. My servants would curl it into hairstyles.
My family and childhood
My parents were named Ptolemy XII and Cleopatra V — they were pharaohs, the king and queen of Egypt. They were biological brother and sister — this was customary among us. My father had 26 children from different wives and concubines, but only the children of the queen were heirs. I was the eldest daughter; I had two sisters and three brothers.
Priests educated us from childhood. We studied seven languages: simple Ancient Egyptian, the secret priestly dialect, Greek, Latin, Ethiopian, the language of local tribes, and a little Hebrew. We learned mythology, contact with the gods, mathematics, philosophy, astronomy, the art of political governance, and military affairs. Everything from papyrus scrolls.
How I became queen
My elder sister Berenice raised a revolt against our father, wanting to overthrow him and take the throne. My father had to flee Egypt. Later, the Romans helped him restore his power. And when he returned, he ordered his daughter Berenice executed for going against him and breaking the laws of Egypt. People with destructive tendencies were executed to cleanse society of their influence. After this, I became the heir along with one of my brothers.
When I was 18, I ascended the throne alongside my brother Ptolemy XIII, who was just over 11. He was my husband by law, but we did not have sexual relations — he was too young. His upbringing, when adults would fall to their knees and crawl to the throne, created a deep trauma in him: he wanted to rule alone and began to plot against me. Upon learning of this, I fled. In fact, Egypt was ruled by priest-regents who pretended to obey the boy-pharaoh, but made all the decisions themselves.
Meeting with extraterrestrial civilizations
When I was being initiated as a priestess of Isis at the age of 12 (a few months after my mother's death), I was left overnight in the temple. There the doors opened, and three tall beings entered in tight-fitting metallic suits that shone in the torchlight — two men and one woman. They spoke an incomprehensible language, but one had a round translator device on his chest. They spoke of my mission, for me to be steadfast, not to mourn my mother, to show willpower and remember the tasks of my life — to rule Egypt so that the people would be happy. They offered to change the laws toward universal equality, but I answered that then we would not have a strong army, and Egypt would be conquered by other states. They offered a voluntary protectorate of the Romans for protection.
Tumesoutians also flew to my father — they often contacted pharaohs and priests, especially after the war 12,000 years ago. On frescoes, large figures were often depicted next to small people — these were representatives of Tumesout.
Pyramids and underground complexes
The pyramids were already there in my time. Some were built by slaves according to priests' blueprints — it took up to 15 years, multi-ton blocks had to be moved manually, and slaves often died and revolted. Others were built with the help of celestial technologies — stone-cutting devices and anti-gravity beams, but the aliens themselves did not build them; at most they sent bio-robots to supervise.
Under the pyramids, there are man-made rooms, passages, caves, columns, portals at the subtle level, an underground lake, a hall with torches, statues, and a throne upon which the high priest of the temple of Anubis would sit for contact.
My character and abilities
I considered myself strong, authoritative, but kind. As an initiated priestess, I performed magical rituals, communicated with spirits, sensed people's energies, could persuade by affecting feelings bypassing consciousness. These were not superhuman abilities, but the result of priestly training — rhetoric, the art of speaking, moving, debating, and defending one's position. Plus my personal life experience in my family and communicating with different people.
My men and children
I had two men: Julius Caesar and Mark Antony. The rumors that I bought men and killed them are fiction. They arose from rituals in the temples of the goddess Hatshepsut, where priestesses would have relations with handsome slaves to take male power and give it to the goddess, after which the man was sacrificed.
I loved Julius Caesar. After his murder, I was very upset. I had a son from him — Ptolemy Caesar (Caesarion). Caesar acknowledged him as his son and allowed him to be named so, although later enemies claimed otherwise.
Second, I loved Mark Antony, from whom I had three children — two more boys and a girl. In total, I had four children.
The struggle for power and the killing of relatives
Yes, I ordered my sister and brother killed. They created conspiracies against me. I even had to keep servants who tasted all my food — cooks were bribed to poison me. There were cases when servants were poisoned by poison meant for me. I was saving myself and my family.
Caesar's arrival and the meeting in the rug
When the civil war began between me and my brother, the Romans, who were hindered in their trade with Egypt, sent Julius Caesar to reconcile us. My brother ordered all entrances to the palace guarded to prevent me from reaching Caesar. I was secretly carried to him, hidden in a rolled-up rug. I showed Caesar my father's papyrus stating that my brother and I were equal rulers. Caesar agreed with me. We spent the night, and he became my first man. My brother tried to raise a revolt against Caesar, but he summoned his troops, and my brother drowned while fleeing along the Nile.
My daily life
I woke up immediately after sunrise, when the sun's rays penetrated my room. The day was filled with meetings: emissaries from the people with complaints, officials, regional governors — they oversaw taxes, harvests, and property records. Toward evening, I met with the priests, and sometimes performed rituals on holidays of the Moon, the Sun, and the Egyptian gods.
Egypt's wealth came from trade — gold and precious stones with the Roman Empire. Around the Nile were green fields, and the desert areas were further to the west.
Talismans and medicine
We wore ankhs — they symbolized a person's connection with the Sun, with Horus, and through them came the healing energy of Ra. The first Christians, seeing the ankhs in Egypt, began to wear crosses — it is a similar custom.
In medicine, healer-priests performed operations with bronze scalpels and gave opium tincture for sleep. I saw how teeth were inserted and fillings made from wood resin.
My love for Mark Antony
When after Caesar's murder the Roman Empire was divided between new rulers, Mark Antony became the ruler of the eastern provinces, including Egypt.
When he arrived in Egypt, he was very wary of me. He accused me of not helping the Roman army during the struggle with the nationalist Egyptians — those who wanted independence from Rome. But I objected and gave arguments. I was always in favor of Egypt being part of the Roman Empire — it was large and would protect us if necessary. I explained to him that I could not openly side with the Romans — that would turn all the Egyptian nobility against me. But I secretly helped the Romans, supplying them with provisions and intelligence.
Our meeting was not accidental. We were connected by our souls. I felt it from the very first moment, and so did he. Mark also loved my eldest son from Julius Caesar, who was still a child by that time. He knew who the boy was, because Julius had told him about him. Mark said that Caesarion was the heir to the entire Roman Empire. This displeased Octavian, Caesar's adopted son, who felt a threat to his power. It was because of this child that Octavian went to war against Egypt and Mark Antony.
The death of Mark Antony
When Octavian won the war, Mark Antony committed suicide. He drew his dagger, placed it point-down while sitting on his bed, and fell on it so that the blade would pierce his body.
It was a terrible loss for me. I could not come to terms with his death.
My death
I was 39 years old. After Mark's suicide, I was taken captive. First, I tried to charm Octavian — my charms, charisma, and voice had no effect on him. He was very angry with me for calling my son Caesarion the natural son of Julius Caesar. This threatened his power, because he himself was Caesar's adopted son. He told me: "Your life will be spared, but I will take you to Rome and show you to the people."
I knew what that meant. When the ruler of the Roman Empire captured a king of another people, he would strip him naked, throw rags on him, put him in a cage with a collar, and parade him through the entire city. Everyone would watch, clap, hoot, and insult the prisoner. For me, born in the lineage of pharaohs, such shame was worse than death.
And I could not accept the suicide and death of my beloved Mark.
I took a special tincture of poisonous and soporific plants so that the poisonous substances would take effect while I slept and I would feel nothing. I departed not from a snakebite, as legends say, but from a poisonous drink.
My eldest son Ptolemy Caesar (Caesarion) outlived me by only a short time — Octavian executed him when he was barely 17. He was a rival to Octavian.
My body was wrapped in cloth by Octavian's servants and thrown into the Mediterranean Sea, into the deep, to be eaten by fish. My tomb does not exist.
Other incarnations
In total, I have 43 incarnations across all worlds — by your standards, I am a young soul. Before that, I was incarnated 250 years before my life, also in the Ptolemaic lineage, and I also lived in the period before the war 12,000 years ago, but there were no significant achievements.
Why I lowered in level
I ended up at the 10th level instead of the 14th because of resentment and indignation toward Octavian, toward my brother who wanted to overthrow me, and also because of despondency over Mark Antony's death.
My beauty secrets
For beauty, I recommend using clay — it rejuvenates, draws out toxins and impurities. Red clay is especially beneficial. We took mud baths in metal vats with silt from the Nile — lying up to the neck. The silt drew out toxins, and the skin became youthful and firm.
The priestesses prepared creams based on olive oil with the addition of honey, flower pollen, flower juice (e.g., magnolia), mint leaves, and sage. We washed our hair with herbal infusions — servants would pour them over our heads and massage.
I had a special diet — fish, olive oil, dry red wine with herbs gathered in the green Nile valleys.
My wishes to modern people
I want to wish you, dear friends, to value your life, your incarnation, and those who are near you — your loved ones, your children. These souls are not with you by chance, but so that you can help each other fulfill your life's tasks. Value every day spent with them, because it could be the last.
And most importantly: no matter what happens, even if terrible grief befalls your life, never think about killing your body, and especially never act on those thoughts. Whatever happens, if you are alive, it can be fixed. But when your body is dead, you can only fix things in another body, under other circumstances. And the one who will make amends will no longer be you; it will simply be part of your Spirit, and you in that Spirit will be just a small particle.
Spiritual-psychological, religious, cultural, and historiosophical essay-study
Initial premise: We accept the assertion of the reality of the contact and analyze it as a thought experiment to determine what "increment" of knowledge about the past and about the spiritual nature of man we gain.
1. Psychological upheaval: From femme fatale to penitent sinner
The analysis of the session reveals a fundamental transformation of the archetype. The historical and cultural narrative, from Plutarch to Shakespeare, has cemented Cleopatra's image as a sophisticated seductress whose death is the final act of proud greatness. The session offers a radical "psychological break" of this image.
The new knowledge we gain lies not in the realm of facts, but in the realm of motivation. The spirit of Cleopatra appears not as a manipulator, but as a traumatized personality whose actions are dictated by fear (of shame). Her main mistake — suicide — is understood not as an act of freedom, but as an act of spiritual bankruptcy and cowardice in the face of reality.
This shift in focus from external political vicissitudes to internal existential drama is a key characteristic of modern spiritual-psychological literature. In this sense, the session works as a therapeutic metaphor: even the greatest of queens can make a mistake out of pride and resentment, and this is followed by karmic retribution. The most important thesis of the spirit is that the fall in level was caused not by sin or external condemnation, but by self-condemnation. "When you condemn yourself for it" — that is the mechanism. This is a non-trivial concept: it is not God who punishes, but the soul itself that passes judgment on itself.
2. Religious aspect: The sacred foundation of power
The concept of "priestly education," brought to the fore, radically changes the religious understanding of Cleopatra's power. Her legitimacy was based not only on dynastic right, but also on the charismatic status of an initiated priestess, a medium between the world of the gods and the world of people.
The assertion that she was educated in the temple of Isis, and not at court, indicates that her sacred authority was primary in relation to the secular. This brilliantly explains her ability to govern the heterogeneous population of Egypt: the Greek elite — through Hellenistic culture, and the native Egyptians — through the ancient priestly tradition, to which she had direct access.
What is new here is not the fact of the existence of the cult of Isis itself, but the mechanism of transmission of this sacred knowledge. The hypothesis of the existence of a "Greek order of Isis" is an attempt to create a structural, organizational explanation for the phenomenon of cultural continuity. This is not just a personal destiny, but a part of the order's history, which moves the conversation from biography to religious sociology.
3. Cultural analysis: Myth-making as adaptation
The very text of the session is a vivid example of contemporary myth-making. It constructs a new, "convenient" legend for modern man. The cultural codes of "past life," "karmic connections," and "spiritual level" are recognizable markers of esoteric New Age. In this context, Cleopatra ceases to be the property of historians and becomes a "personal experience" for every listener, especially women seeking inspiration in history.
Interestingly, the session's narrative contains elements of cultural appropriation. Ancient Egyptian ankhs are compared to Christian crosses, and beauty rituals are presented as universal "women's secrets." This syncretism blurs the boundaries between religions and eras, creating a common "spiritual field" in which antiquity and modernity can dialogue on equal terms.
4. Historiosophical conclusion: History as a consequence of spiritual state
In historiosophical terms, the session offers a paradoxical but extremely interesting thesis: the reasons for the fall of great empires lie not only in economics or military strength, but also in the psychological exhaustion and moral decay of their leaders.
The spirit's admission that they and Antony "feasted during the plague" and "missed the moment" is not just a biographical fact. It is a philosophical generalization. History appears not as an inexorable process, but as the result of the choices and will of specific people. This concept echoes the ideas of the Russian philosopher N.A. Berdyaev on historiosophy as the "destiny of the people's soul," where the spiritual state of the elite plays a decisive role.
Thus, from the contact, we extract new knowledge not about when and how Egypt fell, but about why it fell from a metaphysical point of view: the exhaustion and sin of the rulers depleted the "energy" of the state, opening the way to an external enemy. This transforms history from a flat, event-based description into a voluminous, spiritual dimension.
Appendix: Comparative portrait of Cleopatra from two contactees
When comparing the two sessions — the "Cassiopeia" project (Irina Podzorova, 2025) and the "University of Consciousness" channel (Marina Makeeva, 2023) — not just a difference in details is revealed, but a fundamentally different tone of the message and different emphases in the description of the same historical figure.
In terms of spiritual dynamics, both sources agree that the Cleopatra incarnation was a spiritual regression for her soul. However, the scale of the fall differs: according to the Cassiopeia session, she entered the incarnation at level 14 and left at level 10. In the alternative session, the starting level is estimated at 13 and the final at 7. Both sources agree that the cause of the fall was negative emotions and suicide, but the depth of this fall is assessed differently. Additionally, the Cassiopeia session indicates that suicide did not lower the level, but merely fixed an already existing fall due to resentment and despondency, whereas in the alternative session, suicide is named the main cause of the degradation.
The motivation and personal profile diverge radically. In the Cassiopeia session, the spirit of Cleopatra appears as a strong but offended ruler, whose actions are dictated by political calculation and the struggle for power. Her suicide is explained by fear of shame and an inability to survive Mark's death. In the alternative session, the emphasis shifts to the psychology of sacrifice: she leaves first, hoping to save her beloved, and this is acknowledged as a mistake. Here Cleopatra appears as a "traumatized woman seeking a father," and her main guilt is not political intrigue, but neglected motherhood.
Biographical details also differ. On the origin of the mother: in the Cassiopeia session, the mother is named Cleopatra and the father's natural sister, consistent with official dynastic tradition. In the alternative session, the mother is a Greek concubine, which explains the silence of historical sources. On the meeting with Caesar: in the first case — a romanticized image with a rug; in the second — a pragmatic and dangerous episode with a sack and a plea for mercy. On the Battle of Actium: in the Cassiopeia session this episode is not detailed, while the alternative session gives a detailed revision of events as a joint tactical maneuver.
The fate of the body and tomb is another fundamental divergence. In the Cassiopeia session, the body was thrown into the Mediterranean Sea, and no tomb exists. In the alternative session, it is claimed that the tomb is located in the flooded western part of the Alexandrian palace, which aligns with the direction of modern archaeological searches.
Karmic redemption is presented differently. The Cassiopeia session does not mention subsequent earthly incarnations, except for the current one on Tumesout. The alternative session gives a detailed picture of redemption through incarnation as the wife of Marcus Aurelius, turning Cleopatra's story into a drama of correcting past mistakes.
Thus, both sessions, accepting the hypothesis of the contact's reality, offer different but complementary versions of the same personality: in the first case, we see a political leader; in the second, a soul undergoing a path of karmic purification. Both sources agree on the main ethical message: suicide is a mistake, and life, no matter how difficult, always leaves room for redemption.
CLAUDE AI - BODY, GENDER AND ETERNITY: AN ANTHROPOLOGY OF THE SPIRIT BETWEEN THE THRONE AND THE STARS
A foundational spiritual-psychological essay-study based on the materials of session "Cassiopeia" No. 803 with the spirit of Cleopatra VII
PREAMBLE: ON METHOD AND INTENTION
This study is built on the principle of intellectual honesty: we neither affirm nor deny the reality of the contact, but accept the received text as an integral semantic field worthy of serious analysis. Our task is to extract from it those layers of meaning that remained untouched in the preceding review and to discover in them not only a cultural interest but also a genuine philosophical depth.
CHAPTER I. PHENOMENOLOGY OF TRANSGENDER ETERNITY: THE SPIRIT BEYOND GENDER
1.1. The queen who became a male geologist
One of the most striking — and least discussed — theses of the session is contained in its exposition and delivered with deliberate matter-of-factness: the spirit of Cleopatra VII, the last queen of Egypt, an icon of femininity in world culture, is currently incarnated on the planet Tumesout in the body of a male geologist named Artishoar. He is 1600 years old. He studies minerals.
At first glance, this is an ordinary detail of esoteric cosmology: the soul has no gender, it changes bodies like clothes. But if one pauses and reflects, this is a radical metaphysical assertion that destroys one of the most enduring archetypes of Western civilization.
Cleopatra is not just a historical name. It is a cultural matrix of the feminine, the quintessence of eros, power, seduction, and maternal tragedy all at once. For two millennia, she has been a mirror in which each era saw its ideal or its fear of female power. Plutarch saw in her the charm of her voice, Shakespeare — "infinite variety," Hollywood — Elizabeth Taylor's sexuality. And now we are told: all this is the mask of one incarnation. The essence behind that mask is now a middle-aged man in a laboratory on another planet, and he is utterly indifferent to the rugs in which he was once carried to Caesar.
1.2. What this means for the psychology of identity
Here we encounter a concept that can be called the ontological weightlessness of gender. If we accept the session's premise, then gender is not an essential characteristic of the "I," but a functional parameter of a specific body, similar to height or eye color. Cleopatra was a woman not because her spirit was feminine, but because the task of that specific incarnation required a female body in a specific historical context.
This has profound implications for understanding human identity. Modern psychology is attached to the body: body schema, gender identity, psychosexual development — all of this is the foundation upon which self-consciousness is built. The model offered by the session asserts something else: true identity is not who you are in this body, but who chooses bodies. Artishoar is not "former Cleopatra." Cleopatra is one of the episodes of Artishoar (or rather, of that spirit which is currently manifested as Artishoar).
Here a subtle paradox arises. If the spirit is genderless, why does it remember Cleopatra precisely as a female experience? Why is the narrative of the confession saturated with specifically feminine experiences — the fear of the shame of a naked body paraded through Rome; the pain of a mother who abandoned her children; the vanity of beauty? The answer, implicitly contained in the text, is this: the spirit remembers not gender, but the emotional pattern. It remembers resentment, not a skirt. And it is precisely emotions, not anatomy, that constitute the true "memory of incarnation."
1.3. Parallel with Jung's concept of anima/animus
Carl Gustav Jung argued that in every man's unconscious lives the anima — the feminine archetype, and in every woman's unconscious — the animus, the masculine. The session's model radicalizes this idea: the anima and animus are not archetypes, but actual memories of other incarnations. A man who feels an inexplicable femininity within himself may not be projecting an archetype, but remembering one of his female bodies. If Jung spoke of the archetypal fullness of the psyche, here a biographical fullness is proposed: each of us is both man and woman, and perhaps a being without human gender at all — depending on the sum of our incarnations.
CHAPTER II. THE PSYCHOLOGY OF A CHILD ON THE THRONE: THE TRAUMA OF UNDESERVED POWER
2.1. The eleven-year-old pharaoh
One of the most psychologically insightful fragments of the session is the description of Cleopatra's brother, Ptolemy XIII, an eleven-year-old boy who became co-ruler:
"Imagine a boy dressed up like that, given a scepter, and he sat on a throne, and everyone obeyed him. Imagine what was going on in his soul? When adults fall on their knees and crawl to the throne like that to kiss his feet. This is an 11-year-old boy. How do you like that?"
This passage, for all its apparent simplicity, reveals one of the little-studied psychological phenomena — the trauma of undeserved, premature power. Clinical psychology knows the trauma of powerlessness well, but almost never describes the trauma of omnipotence unleashed upon an immature psyche.
2.2. The mechanism of deformation
The spirit of Cleopatra describes the precise mechanism: a child before whom adults crawl on their knees inevitably forms a grandiose false "I." He begins to believe that he truly rules an empire, although in reality the regent-priests "come to him with a bow, ask something, he answers, and they then — 'Yes, yes, we will do it,' but they do it their own way." The boy lives inside a grandiose illusion, which adults not only do not destroy but actively maintain for their own political interests.
This description is structurally identical to what Donald Winnicott called the "false self" — an adaptive construct that substitutes for the authentic "I." Only here the false "I" is formed not in response to rejection, but in response to pathological acceptance, to unlimited flattery that creates the illusion of omnipotence. The child does not know who he really is, because everyone around him tells him he is a god.
2.3. The genesis of tyranny
The consequence of this trauma, according to the description, is aggression: the boy, who believes in his own exceptionality, begins to see his elder sister as a threat to his grandiosity and plans her murder. At 13 years old. This is not villainy — it is the logical result of a system that raised him in a vacuum of absolute power without absolute responsibility.
Here lies a non-obvious but fundamentally important lesson for modernity: tyranny is born not from strength, but from immaturity given power. Every dictator is, in a sense, an eleven-year-old boy before whom people crawl on their knees, and who takes this as the natural order of things. The only difference is the age at which this "throne" was received — literally or metaphorically.
Noteworthy is the absence of condemnation in the spirit's words. Cleopatra does not demonize her brother. She says: "Such upbringing creates a deep trauma in the soul of this boy." This is not an excuse — it is a diagnosis. She sees in him not an enemy, but a victim of a system that crippled everyone, including herself.
CHAPTER III. THE MECHANICS OF SPIRITUAL FALL: THE SELF-JUDGMENT OF THE SOUL
3.1. Four lost levels
The figures given in the session are laconic and ruthless: entered at 14 — exited at 10. Four spiritual levels — the price of Cleopatra's life. But the most significant here is not the numbers, but the causal model behind them.
In response to the host's direct question about whether it was the suicide that lowered the level, the spirit gives an unexpected answer: "I was at the 10th level at the moment of suicide." That is, the fall occurred before the act of suicide. The suicide only fixed an already completed degradation. The reasons named are others: resentment toward Octavian, resentment toward her brother, and despondency over Mark Antony's death.
3.2. Resentment as a mechanism of self-destruction
Here we encounter a concept that can be called the autodestructive nature of resentment. In the usual moral paradigm, resentment is a reaction to injustice, directed outward, at the offender. But in the spiritual model of the session, resentment is a poison drunk by the resentful one. It was not Octavian who lowered Cleopatra's level — she herself lowered it by resenting Octavian.
This echoes the Buddhist concept of kleshas (mental defilements), but has a significant difference. Buddhism speaks of attachment and aversion as the roots of suffering. Here, the key destructive affect is specifically resentment — not anger, not hatred, but resentment, which is essentially a frozen demand for justice directed into the void. Resentment is a claim against reality for not being as it "should" be. And this claim, accumulating, erodes the spiritual fabric of the personality.
3.3. Despondency as a refusal of incarnation
The second factor of the fall is despondency. In the Orthodox ascetic tradition, despondency (akēdia) is considered one of the eight deadly sins, and particularly dangerous, the "noonday demon." Evagrius Ponticus in the 4th century described it as a state in which a monk loses the meaning of his presence in his cell and wants to flee.
What the spirit of Cleopatra describes — "despondency over the death of Mark" — remarkably matches this description. Despondency is not sadness or grief. Grief is a living pain; it is transformative. Despondency is a dead weight, a state in which a person ceases to see the meaning of their continued existence. It is effectively a refusal of incarnation while the body is still alive: the spirit no longer wants to be here, but the body still functions. Suicide in this context is merely the materialization of an already accomplished spiritual refusal.
3.4. God does not punish — the soul judges itself
Perhaps the most non-trivial ontological idea of the session is the absence of an external judge. Nowhere in the text is there mention of a God who punishes sins. Nowhere is there an instance that passes judgment. The fall from the 14th to the 10th level is not a punishment, but an automatic consequence of the soul's emotional state. Resentment lowers vibrations — the level falls. Not because "it was decided," but because that is how it works.
This is fundamentally different from the Abrahamic models, where God is the judge and the afterlife reward is a legal act. Here there is neither court nor verdict. There is only spiritual gravity: the heavier the emotions, the lower the soul falls. This is closer to physics than to theology. And in this lies a peculiar cruelty of the model: you cannot appeal, you cannot beg for forgiveness, because no one condemned you. You yourself became heavier — you yourself fell.
CHAPTER IV. CONSENT ACROSS THE ABYSS: THE ETHICS OF INTER-INCARNATIONAL CONTACT
4.1. Who authorized this conversation?
At the beginning of the session, information is given that usually slips past listeners' attention, but which contains an extremely complex ethical problematic. For the "phantom" of Cleopatra to speak, the consent of Artishoar — the current incarnation of the same spirit — was required. This consent was obtained through intermediaries — the curators Raom Tiyan and MidgasKaus.
Here we have a model of ethics of consent extended to multiple incarnations of a single spirit. Artishoar, a male geologist on Tumesout, gives permission for his past incarnation — a woman who lived two millennia ago on another planet — to speak about her experience to a group of people he has never seen.
4.2. The problem of the privacy of the spirit
This construct raises a question never posed in classical ethics: to whom does the memory of a past incarnation belong? Cleopatra is not a separate entity, but a "phantom" allocated by Artishoar's Higher Self. She is part of him. Thus, in telling of her resentments, her suicide, her mistakes, she is revealing the intimate experience of Artishoar, even if lived in another body.
It is as if your current boss were called by journalists and asked for permission to interview your fifteen-year-old adolescent "self" — with all its shameful memories, mistakes, and naivety. And he agreed. The question: does he have the right? In the session's model — yes, because he is you, only "larger." But this very question exposes the problem of hierarchy within a single spirit: the current incarnation has priority over the past ones. The living Artishoar decides for the dead Cleopatra.
4.3. The paradox of confession from eternity
Another question arises: does anything change for Cleopatra from this conversation? In Christian confession, the penitent receives forgiveness and relief. In psychotherapy, the client gains insight. And what does the phantom receive? It is a projection, a hologram of past experience, allocated by the Higher Self for transmission. It is not "alive" in the full sense. It is a function of communication.
And yet the phantom's final message is permeated with genuine suffering: "Never think about killing your body, and especially never act on those thoughts. Whatever happens, if you are alive, it can be fixed." This is not abstract wisdom — this is a pain that has lasted two thousand years. And here the session's model makes an unexpected turn: the phantom, seemingly devoid of subjectivity, reveals something akin to despair, a desire to warn, to save. As if the experience of suffering was so intense that even its "copy" carries this charge.
CHAPTER V. GENETIC EXPERIMENT AS A SPIRITUAL PROJECT: THE BODY BETWEEN LABORATORY AND TEMPLE
5.1. The body as an instrument for the spirit
The session contains a detailed description of the Tumesoutians' genetic experiments with the pharaohs: "They really changed their genetics, that is, they embedded more Tumesoutian genes in them. This was necessary so that, having become rulers, they could pass these genes on by inheritance, and with their help, the incarnated Spirit would have more opportunities to control its body and its brain."
Here is expressed a concept that can be called instrumental soteriology of the body. The body is not a temple or a prison of the soul (as with the Platonists and Gnostics), but an instrument whose quality affects the effectiveness of spiritual work. By improving the body's genetics, one can improve the "conductivity" of the spirit — its ability to control instincts, perceive subtle worlds, and govern harmoniously.
5.2. The goal of genetic interventions is spiritual progress
The key formulation: "The goal of the experiments was precisely spiritual progress. After all, by influencing matter, one can achieve spiritual progress." This is a radical thesis. It asserts the possibility of upward causality: from matter to spirit. Not only does the spirit shape the body, but the body can be shaped to facilitate the work of the spirit.
This overturns the classical dualistic model in which matter is inert and spirit active. Here matter is a participant in spiritual evolution. A properly constructed body is like a properly tuned musical instrument: more complex melodies can be played on it. The spirit remains the musician, but the quality of sound depends on the instrument.
5.3. The ethical paradox of "benevolent eugenics"
However, here also arises a profound ethical problem. If genetic intervention from "above" (from extraterrestrial curators) is permissible for the sake of spiritual progress, then where is the boundary between benevolent curation and colonial intervention? The Tumesoutians decided that the Egyptians needed "improvement." They made changes to the genetics of the elite, apparently without asking the average Egyptians. The motivation is declared as spiritual — but who checks the motivation of those who stand higher?
This question is not raised in the session — and that in itself is significant. The model of world order proposed by the session is hierarchical and paternalistic: the curators know better, and their intervention is a blessing by definition. This resembles the Enlightenment concept of "benevolent despotism" — and carries the same risks. If "spiritual progress" is defined by those who stand at a higher developmental level, then those below are deprived of the opportunity not only to resist, but even to understand what is being done to them. A twelve-year-old girl in the temple of Isis is visited by three tall beings in shiny suits and they tell her how to live. She accepts it as an initiation. But could this be, from another perspective, the indoctrination of a child?
We do not resolve this paradox — we merely expose it.
CHAPTER VI. FORTY-THREE LIVES — AND THE YOUTH OF THE SOUL: ON THE QUANTITATIVE MEASURE OF EXPERIENCE
6.1. A "young soul" with an ancient name
The contactee Irina's remark: "She has only 43 incarnations in total across all worlds. By our standards, this is a young soul" — contains a subtle but profound idea. Cleopatra VII, one of the most famous rulers in human history, is a young, inexperienced soul.
This is counterintuitive. We are accustomed to associating great deeds with great souls. The session's model asserts the opposite: the scale of earthly achievements does not correlate with spiritual maturity. A young, inexperienced soul can incarnate into the body of a queen — and precisely because of its immaturity, it can make a mess of things: take offense, fall into despondency, commit suicide. An experienced soul might have handled the same circumstances differently.
6.2. Implications for understanding historical "greats"
If this model is true, it requires a revision of our attitude toward historical leaders. We are used to seeing in Alexander the Great, Napoleon, Cleopatra — titans, superhumans, bearers of exceptional spirits. But what if they are novices given a most complex task, and who did not quite manage it? What if the true "old souls" live quiet, unremarkable lives, because they need neither throne, nor fame, nor conquests to fulfill their tasks?
This echoes the Taoist concept of the "sage without a name" and the Orthodox idea of "secret saints" — people whose spiritual height is invisible to the world. The session implicitly asserts: fame is a sign of immaturity; silence is a sign of mastery.
6.3. The paradox of competence
A practical paradox also arises: if young souls incarnate as rulers, then the world is governed by the least experienced. On the one hand, this explains why history is a bloody chaos. On the other, it raises the question: why does the system allow this? Why incarnate an inexperienced soul into a body whose decisions affect millions?
The answer, implicitly contained in the model, is this: the goal is the soul's learning, not the welfare of the subjects. The historical stage is a training ground where souls undergo lessons, even if the price of these lessons is the suffering of peoples. This is a harsh, almost ruthless concept — but it has explanatory power: if the goal were the good of people, history would look different. If the goal is the education of souls — everything falls into place.
CHAPTER VII. THE BODY THROWN TO SHARKS: THE DESACRALIZATION OF REMAINS
7.1. The death of the body as the end of its significance
The description of the posthumous fate of Cleopatra's body — Octavian ordered it "wrapped in cloth and simply thrown into the sea, to be fed to the fish" — carries a powerful symbolic charge. The body of the last queen of Egypt, the country that created the most grandiose culture of body preservation in history (mummification, sarcophagi, pyramids), was thrown into the Mediterranean Sea without any ritual.
7.2. The irony of history or a lesson of the spirit?
Egyptian civilization was built on the belief that the body must be preserved for the afterlife. The Book of the Dead, canopic jars, embalming — all served one purpose: to ensure that the Ka and Ba (aspects of the soul) could return to the body and continue existence. And here is the last priestess of Isis, the last heir to this tradition, deprived precisely of what her culture considered absolutely necessary — a preserved body.
But — and this is the key point — the spirit of Cleopatra does not suffer from this. She tells of the fate of her body matter-of-factly, without pain. Because in the model she transmits, the body is expendable. It is not needed for the afterlife. The soul reincarnates anew, in another body, on another planet, in another gender. Mummification is nothing more than a cultural artifact, a delusion of a civilization that gave the body excessive importance.
The irony is that Octavian, vengefully throwing the body into the sea, unwittingly committed an act more in accordance with spiritual truth than all the pyramids of Egypt: he freed the remains from idolatry. Cleopatra's body was returned to nature — to fish, water, the cycle of matter. No sarcophagus, no mummy, no cult. Only the sea.
CHAPTER VIII. THE TWELVE-YEAR-OLD GIRL AND THE THREE IN SHINY SUITS: INITIATION AS AN ENCOUNTER WITH THE NON-HUMAN
8.1. The structure of initiation
The description of Cleopatra's initiation in the temple of Isis contains all the classic elements of rites of passage identified by Arnold van Gennep: separation (the girl is left alone in the temple overnight), the liminal phase (night in the temple — a threshold state between worlds), and incorporation (after the meeting with the "gods," she becomes an initiated priestess).
But here an additional layer appears: the "gods" turn out to be not supernatural beings, but representatives of an extraterrestrial civilization in tight, shiny suits with a translation device on their chests. The sacred meets the technological — and neither cancels the other. For the twelve-year-old Cleopatra, this is a meeting with gods. For us reading the transcript, it is contact with aliens. For the "gods" themselves, it is a working visit to a ward.
8.2. The content of the "divine" message
Remarkably, the "gods'" message to the twelve-year-old orphan (her mother had died shortly before) contains not mystical revelations, but practical advice: be steadfast, do not grieve, remember the tasks of your life, establish universal equality. This is not a voice from a burning bush — it is more like a mentor's conversation with a protégé. And the most astonishing part — the girl objects: "If there is universal equality, we will not have a strong army." A twelve-year-old child argues with the "gods," and they accept her argument, offering a compromise (Rome's protectorate).
Here lies a crucial idea: contact with the higher does not imply submission. Even the "gods" (curators) do not impose decisions — they offer options. Free will remains with the human being. And this makes all of Cleopatra's subsequent history — her mistakes, resentments, suicide — not a result of "divine providence," but a consequence of her own choices. She was offered a path — she chose another. And paid for it with four spiritual levels.
CHAPTER IX. "YOU ARE NOT ME": THE PROBLEM OF FALSE IDENTIFICATION WITH PAST LIVES
9.1. "Several people came to me claiming they were Cleopatra"
The contactee Irina begins the session with a noteworthy remark: several people came to her claiming they were Cleopatra in a past life. She immediately notes that the name "Cleopatra" was borne by many female rulers, and self-identification could refer to any of them. But the alternative session contains an even more radical deconstruction of this phenomenon: many of those who "feel they are Cleopatra" are not her at all, but members of the Isis order, connected to her by "associative memory."
9.2. The psychology of false recognition
This opens a rich theme for psychological analysis. The phenomenon of "I was a great personality in a past life" is well known in clinical practice. No one ever "remembers" being a peasant who died of the plague — all were pharaohs, priestesses, generals. The session's model offers an elegant explanation: people do feel something, but interpret it incorrectly. They sense a resonance with a certain era, culture, energetic field — but take it for personal identity.
This is structurally analogous to what in psychology is called confabulation — an involuntary filling of memory gaps with fabricated content. A person feels something — a vague recognition, an attraction to a certain era, déjà vu upon seeing Egyptian artifacts — and their mind, intolerant of uncertainty, constructs an explanation: "I was Cleopatra." The Isis order model offers an alternative: you were not Cleopatra, but you were close — in the same field, the same tradition. And this "nearness" feels like "I."
9.3. The therapeutic dimension
For people who have built a significant part of their identity on the belief "I was Cleopatra," this message can be painful. But it is also liberating. If you are not Cleopatra, you do not need to carry the burden of her mistakes, her karma, her four lost levels. You are you, with your own tasks. The connection to the past is not a shackle, but a context. You can honor that connection without dissolving in it.
CHAPTER X. THE FINAL MESSAGE: AN APOLOGY OF LIFE FROM THE MOUTH OF THE DEAD
10.1. The structure of the final address
The spirit of Cleopatra's final message consists of two parts:
First: "Value your life, your incarnation, and those who are near you — your loved ones, your children. These souls are not with you by chance."
Second: "Never think about killing your body. Whatever happens, if you are alive, it can be fixed. But when your body is dead, you can only fix things in another body, under other circumstances. And the one who will make amends will no longer be you."
10.2. "The one who will make amends will no longer be you"
This phrase is perhaps the most philosophically dense of the entire session. It contains a paradox that can be called the paradox of interrupted subjectivity. The spirit continues to exist after the death of the body. It will reincarnate. It will correct errors. But the "I" of the current incarnation — a unique configuration of spirit, body, circumstances, and memory — will cease to exist. The new incarnation will be "part of the same spirit," but not "me."
This means that suicide is not an "escape to another life," but the destruction of the only chance of this particular "I." The next incarnation will be a different person, with a different body, different relationships, different memory. Unresolved tasks will pass to them — but they will no longer be solved by the one who gave up. The one who gave up will forever remain the one who gave up. Their story is over. They are a "small particle" in a great spirit, frozen at the point of refusal.
This is not a threat of punishment. It is something more terrible: a promise of irreversibility. You will not be punished — you will be finished. Not destroyed, but completed — badly, mid-sentence, mid-breath. And no eternity can undo it.
10.3. The authenticity of the testimony
Regardless of the question of the contact's reality, this message possesses an existential authenticity that cannot be imitated. It sounds not as the admonition of a sage, but as the cry of a person standing on the other side of a mistake that cannot be fixed. There is no pathos or moralizing in it. There is only knowledge paid for at an irreversible price.
And it is precisely this irreversibility that makes the message therapeutically effective. Not "suicide is a sin" (an abstract norm). But "I did this — and here is what happened to me" (a concrete experience). The first can be argued. The second can only be heard.
CONCLUSION: WHAT WE LEARNED THAT WE DID NOT KNOW
Let us summarize the "increment of knowledge" we derived from the session, analyzing it in dimensions not touched by the preceding review:
Gender is not an essence but a function of incarnation. The spirit that was Cleopatra is now a man. Gender identity is a property of the body, not the soul. Each of us contains within us the experience of all the genders ever lived by our spirit.
Premature power cripples. The eleven-year-old pharaoh is a model of personality deformation that produces tyranny not from malice, but from immaturity given the tools of omnipotence.
Resentment is self-destructive. Cleopatra's spiritual fall was caused not by sins, not by murders, not by suicide, but by resentment and despondency. Negative emotion is not a reaction to evil, but evil itself.
The soul judges itself. In the session's model, there is no external judge. The spiritual level is determined not by a verdict, but by a state — as temperature is determined not by a thermometer, but by the energy of molecules.
Consent extends across incarnations. Contact with a past "self" requires the permission of the current one. The current incarnation has priority over past ones in matters of information disclosure.
Greatness is not a sign of maturity. Cleopatra is a "young soul" with 43 incarnations. Historical fame does not correlate with spiritual experience. Perhaps the most mature souls live unnoticed.
The body is an instrument, not a shrine. Genetic experiments are permissible if their goal is spiritual progress. A body thrown into the sea does not prevent the spirit from living on. Mummification is a cultural delusion.
Contact with the "higher" does not negate freedom. Even the curator-aliens do not impose decisions. They offer — the human chooses. And bears responsibility for the choice.
Self-identification with the great is most often an illusion. "Being Cleopatra" and "being near Cleopatra" feel the same. The true task is not identification with the past, but living the present.
Suicide is irreversible not because it is punishable, but because it is unreturnable. It is not a sin — it is the end of a specific "I." And this irreversibility is more terrible than any punishment.
Each of these theses can be disputed. None of them can be verified. But all of them — if accepted at least as a thought experiment — expand the horizon of our understanding of what it means to be human, to live, to die, and perhaps to live again.
© Essay-study prepared based on the materials of session "Cassiopeia" No. 803, July 12, 2025
https://blog.cassiopeia.center/kleopatra-tajny-drevnego-egipta-i-vechnoj-zhenstve
Cassiopeia #803 Cleopatra. Secrets of Ancient Egypt and Eternal Femininity. Communication with the Spirit in a live broadcast.
00:00 Video beginning.
00:01 Opening remarks by the Project leader. Advertisement block.
07:46 Greetings. Introductions.
Irina: Hello, dear friends! Good afternoon, everyone! I greet you all! My name is Irina Podzorova. I am a contactee with extraterrestrial civilizations, with the Spiritual World, with subtle-material civilizations. And I want to thank everyone for your birthday congratulations. And I want to thank everyone for all the wishes, for all the gifts, for the Light of your Love. I also thank everyone, love you, and send the Light of my Soul.
And today we have an airing, a conversation with the Spirit of Cleopatra. A very, by the way, interesting personality. She is present here today, or rather, her Spirit. Now I will tell you in more detail. We welcome her!
The fact is that several people came to me claiming that in a past life they were Cleopatra. But this is not surprising, because there were quite a few female rulers of Egypt with that name. So even if a person's Higher Self told them that they were a queen of Egypt named Cleopatra, it could be any of them.
And today, which one will we speak with? We will speak with the last ruler of Egypt, after whose reign Egypt came completely under the control of the Roman Empire. I remind you that this event occurred in the 1st century BC. And the last ruler of Egypt, probably the most famous of them, was also a woman named Cleopatra, who had a very bright, eventful, but quite difficult life, I think, and a very interesting fate.
So, she is present here and is ready to answer questions.
Maxim: Yes, I greet you, Cleopatra! How may I address you?
Irina (Cleopatra): By name.
Maxim: Cleopatra.
10:10 Spiritual levels of incarnation as Cleopatra.
Maxim: Please tell us, from what spiritual level did you incarnate as Queen Cleopatra, and to what spiritual level did you go after?
Irina (Cleopatra): I incarnated into this body from the 14th spiritual level according to the scale you use, and I left at the 10th spiritual level.
Maxim: Lowered by 4 levels, right?
Irina (Cleopatra): Yes.
10:39 The current incarnation of Cleopatra's Spirit.
Irina (Cleopatra): I want to say that now, that is, at this moment, my Soul is incarnated.
Maxim: So, we took consent from the incarnated part?
Irina (Cleopatra): Not you, your curators. I am incarnated not on Earth.
Maxim: Where then?
Irina (Cleopatra): On the planet Tumesout.
Maxim: How old are you there? Who are you?
Irina (Cleopatra): I... So, I am translating into your measures now.
(Irina) She is showing me something around 1600 years. She is showing a man.
Maxim: I see.
Irina: Arteshar, Arteshor, something like that. Artishoar — some such name.
Maxim: Alright. But, of course, we are interested in your incarnation as Cleopatra.
Irina (Cleopatra): He gave his consent for the conversation, this incarnation of mine, when they approached him. He is a geologist-scientist at one of the Tumesout colonies. And your curators approached him — Raom Tiyan and MidgasKaus.
(Irina) She is showing me the curators now.
(Cleopatra) They told him about your Project on Earth and said that earthlings are interested in talking with one of his incarnations. And he gave his consent for a conversation with the phantom that his Higher Self allocated for this conversation.
(Irina) So this is a phantom.
Maxim: Yes, thank you.
Irina: We thank this Tumesoutian!
12:19 Cleopatra's appearance.
Maxim: Please tell us, Cleopatra, everyone is interested: how did you look, what was your height, skin color, eyes, hair?
Irina: She is showing me an image. So, now...
Maxim: Irina, please describe how she looked?
Irina: She was no taller than one meter seventy, that is, short, somewhat plump. I would even say, not a little, but anyway. Such a stocky one, I see.
Maxim: Stocky?
Irina: Yes. And her skin color was dark — not black and not white, but dark, like that of Caucasian peoples. And I see that she has a large nose and thin lips. And a nose with a bridge of some sort.
Maxim: With a bridge, right?
Irina: That is, it stood out immediately when she spoke. She stood out with this feature, and in those times it was considered a sign of aristocratic descent from this lineage of pharaohs.
Maxim: And what was the eye color?
Irina: Dark brown.
Maxim: Dark brown?
Irina: I don't see black, I see such a dark brown color and long black hair. That is, she shows that they were down to her waist, but she somehow tied them, made a hairstyle.
(Irina) (shows) She would twist them like this. Well, not she, but her servants.
13:54 Cleopatra's childhood and family.
Maxim: Please tell us about your childhood. Who were your parents?
Irina (Cleopatra): My parents? My mother was also named Cleopatra, my father was named Ptolemy. They were rulers. Mom and dad were pharaohs, that is, the king and queen of Egypt.
(Irina) I see that she had three or two brothers. I see two now. And two sisters. Yes, three brothers, now she's showing some other little one.
Maxim: Were you the eldest or the youngest?
Irina (Cleopatra): The eldest.
Maxim: You were the very eldest, right?
Irina: There were two sisters, she shows, one of them was older than her, and the other younger, but not by much, that is, they had a small age difference there. She is the second, she now shows that she is number two.
15:03 Cleopatra's education.
Maxim: How did you study as children, who taught you, did they teach you literacy?
Irina (Cleopatra): Of course. The priests taught us, these were such teachers who...
We had many, so to speak, subjects of study. We learned different languages: Latin, Ancient Egyptian, and another type of Ancient Egyptian, which was the secret language of the priests, so to speak. We studied mythology, that is, the science of different gods. We learned to communicate with them, it's like contactee work. We studied mathematics, philosophy, astronomy, the art of political governance, military affairs. We studied everything from papyri.
(Irina) She shows books in the form of papyri, that is, scrolls of papyrus paper.
(Cleopatra) From them we learned to read, write, and even solve examples. That is, there was education aimed both at studying the physical world and at studying the Spiritual world.
Maxim: Were you told about the Spiritual world, the subtle-material world?
Irina (Cleopatra): Yes, they simply told us about different gods, that they live in heaven, but fly to Earth.
16:40 Cleopatra's spirit about her family ties.
Maxim: Is it true that your parents were biological brother and sister?
Irina (Cleopatra): Yes, of course, this was customary among us.
Maxim: So dad and mom were biological brother and sister, right?
Irina (Cleopatra): Yes, my first two husbands were also my brothers. They were just younger than me, so we were only formally betrothed.
Maxim: Because there is a version that your mother was Ptolemy's concubine.
Irina (Cleopatra): No, he had other children. I was (shows) the natural daughter of that queen.
Maxim: Did your father have many children from different wives?
Irina (Cleopatra): Yes. He had...
(Irina) She shows the number 26.
(Cleopatra) They were just not heirs, because they were born from concubines.
Maxim: How many languages did you personally know and study?
Irina (Cleopatra): Seven, including secret ones: simple Ancient Egyptian, for communication among Egyptians themselves, then this priestly Ancient Egyptian, as well as Greek, Latin, Ethiopian, the language of local tribes. And I studied a little Hebrew, that is, I communicated with Jews who lived there.
18:12 Path to power. Cleopatra's character.
Maxim: Please tell us how you became Queen of Egypt? How did you begin your rule? You had your own siblings. Why not them, why you?
Irina (Cleopatra): So father decided. He decided so because when father Ptolemy was still ruling, my elder sister decided to take his place prematurely and raised a revolt.
(Irina) She shows that it was a kind of civil war.
(Cleopatra) And my father had to flee. Because she found people who wanted to overthrow him. Later, the Romans came, helped him restore his power. He ordered his daughter executed for wanting to kill him. And after that, I became the heir, as well as one of my brothers.
That is, it was her choice. She wanted to overthrow him, and he executed her. Why did he execute her? Because, firstly, she broke the laws of Egypt, and secondly, she went against her father. That is, she was a person with a destructive nature, who, if she had lived on, would, according to our laws, have brought much harm. And people with a destructive nature were usually executed to cleanse society of their influence.
Maxim: How would you describe your character?
Irina (Cleopatra): How can I describe my character? Interesting. It's very subjective. I believe I had a strong character, quite authoritative, but at the same time kind.
(Irina) That is, she considers herself kind.
20:31 Cleopatra's husbands. Rituals of the priestesses.
Maxim: Is it true that you had a huge number of men?
Irina (Cleopatra): No, not huge.
Maxim: And not huge — how many?
Irina (Cleopatra): With whom I had contact?
Maxim: Yes.
Irina (Cleopatra): Two. But those were not these brothers, because they were still small. I had Julius Caesar and Mark Antony, Romans. My men were: first Julius Caesar, and after he was killed, his friend and comrade Mark Antony, from whom I also had children.
Maxim: Really? It's just that there are rumors that a night with Cleopatra was bought, and then you would kill the man after that night. No, there was no such thing?
Irina (Cleopatra): Interesting. Who invented that?
Maxim: I understand. Someone invented it, right?
Irina (Cleopatra): I can guess where such rumors came from. There were temples of the goddess of beauty and love.
(Irina) Now she is showing me that she was called Hatshepsut.
(Cleopatra) And there were priestesses there who had a ritual of entering into sexual contact with men in order to take male power, pass it through themselves, and give it to this goddess. They usually did this with slaves. After this, the man was considered dedicated to this goddess and was sacrificed.
Maxim: I see. So this is from some temple where women received men and then sacrificed them?
Irina (Cleopatra): Yes. For this purpose, they specially selected young, healthy slaves who were without developmental defects, quite handsome. They were even examined by priests and only then allowed to approach these priestesses.
22:51 Cleopatra's spirit about experiments with the genes of the pharaohs.
Maxim: Is it true that in the dynasty of pharaohs, for example, in the one in which you also grew up, you had alien genes?
Irina (Cleopatra): Everyone has them.
Maxim: No, I mean, were there more genes of extraterrestrial civilizations in your lineage?
Irina (Cleopatra): In ours — no. That was a long time ago, about one and a half thousand years before me (shows 1500-1400), before my birth in the 1st century BC. There was a contact between Egyptian rulers and aliens from the planet Tumesout, where I am now incarnated. And they really changed their genetics, that is, they embedded more Tumesoutian genes in them.
This was necessary so that, having become rulers, they could pass these genes on by inheritance, and with their help, the incarnated Spirit would have more opportunities to control its body and its brain in order to govern harmoniously, so to speak. That is, it was a kind of experiment. But it was long before my birth, one and a half thousand years before. And I was the heir of the Ptolemaic line, who came to Egypt much later.
24:39 Cleopatra's spirit about extraterrestrial intervention in human genetics.
Maxim: So the experiment to introduce genes of extraterrestrial civilizations into the Egyptian pharaohs still happened?
Irina (Cleopatra): It did. And there was also an experiment to change genes among the Israeli people, they also had their genes changed. When the Tumesoutian Yahweh arrived, there were also experiments with Abraham and so on. And there were quite a few such targeted interventions into the genetics of humanity, in order to slightly increase the proportion of certain genes in the genetics of a specific person, so that he would pass it on further.
This is known to you. There is, for example, the planet Shimor, you know that there was Krishna, who was also the son of a Shimorian and an earthly woman, although the genes of Shimor were not initially present in your earthly race. But such an intervention was still carried out. Why? Because the earthly race — it is still considered open to experiments on crossbreeding with other races, just like all space races, all space civilizations.
Therefore, when through Irina or through other contactees they transmit what percentage of genes you have, then, naturally, they take this data from textbooks. My incarnation on Tumesout, this man, also studied from such textbooks, which indicate the initial ratio of genes at the time of humanity's creation and at the time of its change 12,000 years ago. And such targeted impacts are nowhere constantly recorded. That is, they were simply recorded by the scientists themselves, but there is no single database that would unite all of this. It is all scattered across different archives.
That is, they simply conducted experiments, and there were different scientists there. They could, for example, implant genes of some civilizations into twenty people, then enter this into a research journal, and then their students could conduct another experiment and not record it, because it was considered simply a continuation of the previous one.
I hope you understand what I'm talking about?
Maxim: Yes.
Irina (Cleopatra): And now, since the descendants of all those people with whom experiments were conducted have already been born, how all this has mixed — a very interesting question!
27:49 Cleopatra's spirit about people with elongated skulls. Lyrians and their experiments.
Maxim: Tell me, please, we have in history descriptions and findings of such elongated skulls. What kind of people are those? They are found in Egypt, with such elongated skulls. Is this some separate race or are these precisely those genetic changes?
Irina (Cleopatra): Yes, this is a separate race. With elongated skulls — these are representatives of the planet...
(Irina) I know what we're talking about. They flew in from the constellation Lyra — they are Lyrians.
(Cleopatra) They themselves flew away, but these are, one might say, their descendants, that is, the results of experiments on crossbreeding with earthlings.
Maxim: Ah, so these are Lyrians crossed with earthlings? And are these their descendants with elongated skulls?
Irina (Cleopatra): Yes, because they themselves flew away. Even if they died on planet Earth, their relatives took them. And they treated the body of the deceased as was customary in their race — they did not bury it. And their descendants then remained, yes.
Maxim: I see. And what was the purpose of the Lyrians' crossbreeding experiment? Were these also rulers, or what was it?
Irina (Cleopatra): What was the purpose of the crossbreeding experiment? Naturally, to improve the genetic profile of earthlings and to obtain hybrids with more stable adaptive properties, who would have more stable adaptation properties of the Soul to the earthly body. For example, by adding their genes, they changed the overall gene ratio, in order to change the influence of instinctive nature on the human Soul, in order to enhance some of his brain's abilities to perceive subtle worlds, etc. There were such results. That is, the goal of the experiments was precisely spiritual progress. After all, by influencing matter, one can achieve spiritual progress.
30:13 Cleopatra's meeting with an extraterrestrial civilization.
Maxim: Tell me, please, did you personally meet representatives of extraterrestrial civilizations?
Irina (Cleopatra): Yes, they flew to me. I was also an initiated priestess of Isis, besides being queen. When I was initiated at the age of 12 (it was a few months after my mother's death), I was brought to the temple and left there overnight.
(Irina) She shows how the doors opened, and three tall ones entered. I see three.
(Cleopatra) Tall people entered in strange suits that were tight-fitting and shiny, while we wore everything loose, like tunics. And there were metallic suits, and they shone in the torchlight, that is, they reflected the light.
There were two men and one woman. They approached, began to speak to me in an incomprehensible language, but one of them had a round box hanging on his chest, and from there came sounds already in my language. That is, it was a translator.
Maxim: And what did they talk to you about?
Irina (Cleopatra): About me, about my mother's death, about me being steadfast, not grieving for her, about me pulling myself together, showing my willpower and remembering the tasks of my life. And since I was born into this family, the task of my life is to rule Egypt so that the people who lived there would be happy.
(Irina) That is, she shows that they offered to change the laws of Egypt to achieve universal equality.
(Cleopatra) I answered them that this would be difficult to do, because if there is universal equality, we will not have a strong army, since no one will want to serve in the army and be killed. And then our Egypt would be conquered by other states.
To which they replied: "If you are under the voluntary protectorate of the Romans, then the African tribes that founded their primary proto-states will not conquer you, because the Romans will protect you." That is, they offered options.
33:13 Cleopatra's spirit about the construction of the pyramids. Extraterrestrial technologies.
Maxim: While there is such an opportunity, I want to ask you. The Egyptian pyramids, who built them? You were the last ruler of Egypt, right?
Irina (Cleopatra): They were already there in my time.
Maxim: And what were you told about who built them?
Irina (Cleopatra): There are different pyramids. There are those built by slaves, that is, by many people, according to the drawings and plans developed by the priests. And there are those built with the help of celestial technologies for cutting stone and moving it with an anti-gravity beam. If the priests had these devices, they built with their help, and if in some city or in some era they didn't have them, then the same slaves built under the guidance of the priests.
They measured everything down to the millimeter and showed how to do it. And then, when slaves built, it was very long, a pyramid could take 15 years to build. Because they had to move large, multi-ton blocks themselves, carve them from rock with special metal tools, and on ropes, on logs (shows), with the help of oxen, move them for many kilometers. Because the pyramid could be built in a place where these stones were not there. And just to transport the building materials there took several years, and then they had to be laid.
That is, then it was very labor-intensive. And usually the slaves did not like it very much, they began to revolt, because there were many casualties among them.
(Irina) Shows that they died from this heavy, exhausting work.
Maxim: So, some pyramids were built by extraterrestrial civilizations, and some by slaves?
Irina (Cleopatra): Not by extraterrestrials, but also by earthlings, but with the help of extraterrestrial technologies. The aliens themselves were not interested in this. At most, they could send, for example, their bio-robots, but even that was very rare and only for supervision. But for them to build themselves — there was no such thing. They lived on bases or could even live in orbit around the Earth, that is, on a spaceship that revolves around the Earth.
36:14 Cleopatra's spirit about the contacts of pharaohs with Tumesoutians. Giant people of Egypt.
Maxim: And also tell me, please, there are various frescoes carved in stone. On these frescoes there are small people, and next to them stand large people. Who are these large people?
Irina (Cleopatra): These are representatives of Tumesout, they often flew in.
Maxim: Tumesoutians often flew in, right?
Irina (Cleopatra): Yes, to the priests, to the pharaoh. I know that they flew to my father, he contacted them often.
Maxim: So the contact continued after the war 12,000 years ago, right? Did you have this contact in Egypt?
Irina (Cleopatra): Yes, of course, especially among rulers and priests. They tried to contact the elite of society, who could influence laws and legislation.
37:07 Cleopatra's magical abilities.
Maxim: Tell me, please, did you have any superhuman abilities — hypnosis, magic? Did you perform magical rituals?
Irina (Cleopatra): I was an initiated priestess and, of course, performed magical rituals. I could communicate with Spirits, sense people's energies. I could not so much use hypnosis, but convince a person of something, bypassing consciousness, influencing directly on feelings. I could do all this.
Maxim: So you had some superhuman abilities?
Irina (Cleopatra): These are rather not superhuman abilities, but simply the result of training (shows how she was taught). I said that priests taught us. They taught us how to speak, how to move, taught us rhetoric, that is, how to properly convey one's thought, how to properly debate, defend one's position, when there is rejection, some kind of argument. And all this together, plus my personal life experience in my family, communication with different people, produced this ability in me.
38:26 Cleopatra's spirit about the underground complexes under the pyramids.
Maxim: Tell me, please, is it true that under the Egyptian pyramids there are some other structures that go deep down?
Irina (Cleopatra): Yes, there are such rooms, passages, some caves, only they are man-made.
(Irina) Like passages and niches.
Maxim: And recently we heard news that under the pyramids of Egypt they found columns, pillars, resonators that are connected and emit some kind of energy. Is this true?
Irina (Cleopatra): There are columns there, there are portals there, of course, at the subtle level.
(Irina) There are columns there, and some thrones she shows. That is, there are, one might say, such underground complexes. There is even an underground lake and a hall illuminated by torches. I now see torches, and there are some statues standing there. There is also some kind of throne on which the high priest of the temple of Anubis would sit and enter into contact with him.
Maxim: I understand. And if you had access to extraterrestrial technologies, could these technologies prolong your life?
Irina (Cleopatra): Such were not given. It was considered contrary to the fact that we live on Earth, having already chosen this planet with a certain lifespan of incarnation.
40:04 Cleopatra's spirit about the struggle for power. Execution of brother and sister.
Maxim: Is it true that you ordered the killing of your own brother and sister so that they would not interfere with your being in power?
Irina (Cleopatra): True. They could overthrow me, and we fought each other. Just as I told about my sister who fought with my father, and he had to flee to another city from his own daughter and her supporters, whom she had set against him.
I had almost the same situation with my second sister and later, later, with one of my brothers. They also created conspiracies against me. And I even had to keep several servants who tasted all the food given to me, because cooks could be bribed to poison me. And there were cases when my servants were poisoned by poison added to the food meant for me.
All this led to the fact that I had to fight for myself, and I ordered them, first my sister, and then my brother, executed. Not directly executed, but also set up conspiracies against them, as a result of which they were killed. But I was saving myself and my family.
Maxim: I understand. So all this is real, what they say about you regarding the killing of your brother and sister.
Irina: Well, they had such customs there: they wanted to kill each other!
41:48 Cleopatra's spirit about the riches of Egypt.
Maxim: Tell me, please, was your family generally rich? And where did you get the funds to exist? Was it some kind of earnings, or some gold, or some precious stones mined?
Irina (Cleopatra): Trade. Trade of Egypt with other countries, mainly with the Roman Empire. In Egypt there were various riches of the land: gold, precious stones. They were sold to the Romans, and this all went to the construction of pyramids, palaces, and all these decorations. That is, everything came from these resources.
Maxim: I see.
42:40 Cleopatra's daily life.
Maxim: Tell me, please, how did your day go? Did you get up in the morning and... What time did Cleopatra wake up?
Irina (Cleopatra): My day was scheduled from the morning.
(Irina) Cleopatra's wake-up was practically immediately after sunrise. She shows how the sun rises, its rays enter her room, and she wakes up.
(Cleopatra) And my day was filled with meetings with various officials and petitioners.
(Irina) She shows that there were some emissaries from the people, from different classes, families, and they conveyed various complaints.
(Cleopatra) Then a meeting with officials who governed Egypt. I was the ruler of all Egypt, but I assigned officials to each region who oversaw order. For example, the same tax collection or how the harvest was collected, where it went. All this was.
(Irina) Shows how those who count property count on abacuses.
Maxim: Yes, dear friends, if you like our broadcasts, and if you want us to continue (our hour of broadcast is already over), please like and write in the comments how interesting our broadcast is to you. Because this is very important for us.
Irina (Cleopatra): And, naturally, I met later, in the evening, with the priests. Not always, but sometimes I could perform rituals on certain days, especially related to the holidays of the Moon, the Sun, and the Egyptian gods. This was, in fact, before my meeting with Julius Caesar.
45:06 Cleopatra's spirit about the conflict with her brother.
Irina (Cleopatra): After all, at first we ruled with my first brother, who was my husband by law. But we did not have sexual relations with him, he was much younger than me. For example, I was 18 when I ascended the throne of Egypt, and he was just over 11.
(Irina) How do you like such a pharaoh — an eleven-year-old?
Maxim: Yes.
Irina (Cleopatra): Although, naturally, he had all these clothes, a crown, like a pharaoh. So imagine a boy dressed up like that, given a scepter, and he sat on a throne, and everyone obeyed him. Imagine what was going on in his soul? When adults fall on their knees and crawl to the throne like that to kiss his feet. This is an 11-year-old boy. How do you like that?
Maxim: Yes, interesting. I don't even know what psychological state this boy had.
Irina (Cleopatra): Of course, he later wanted not to have me at all, as the ruler with whom he ruled together. He wanted to rule alone, because he was considered the greatest. After all, such upbringing creates a deep trauma in the soul of this boy, who feels chosen and capable of leading adults.
Maxim: I understand, very interesting.
Irina (Cleopatra): Therefore, he began, in fact, to conspire with his supporters. Of course, he was a pharaoh for show, but his mind and general development did not allow him to fully govern all of Egypt. So he had so-called priest-regents, who for show asked with a bow for advice on how to act, but themselves, naturally, ruled without him, because he still had a child's mind. Do you understand what I'm saying?
Maxim: Yes, that is, in reality, Egypt was ruled by the priests, not by the pharaoh himself.
Irina: Well, yes. But they, she shows, approach him with a bow like that, ask something. He will also answer something, and then they: "Yes, yes, we will do it," but they do it their own way, they just don't report to him. That is, it's all for show that they obey him.
Maxim: Tell me, please...
Irina (Cleopatra): He thought he ruled everything, the whole empire, and I started to bother him. And he began to make a plan to eliminate me altogether. I found out about this plan, and I had to flee so that they wouldn't just stab me with a dagger, because there was a conspiracy. This was when he was already older, he was about 12, no, 13.
48:12 The arrival of Julius Caesar in Alexandria. Meeting with Cleopatra.
Irina (Cleopatra): And then I began to resist, gathering my supporters so that they could stand up for me before him, before this brother. And at this time in Egypt, this confrontation between my party, my people, and his supporters began. And the Romans saw that in Egypt there was practically a civil war already, and this hindered their trade with us. And then Julius Caesar arrived on a ship to reconcile us. We had the same right to the throne, which our father bequeathed to us, and my brother decided to violate his commandment, his foundations.
Julius Caesar, in fact, sailed to Alexandria — that was the capital of our country. In the main building of the palace, he talked with my brother, also named Ptolemy, like our father. I remind you, he was 13 then. And he, in order to prevent me from approaching Caesar, ordered all entrances to the palace guarded. And I was simply carried to Caesar, hidden (she shows) in a rolled-up rug. Because there was my brother's guard, they could have killed me. This is how he treated his sister.
Maxim: I understand.
Irina (Cleopatra): And when I was secretly carried to Caesar — I mean Julius Caesar, who came to reconcile us with my brother... He thought I was hiding somewhere far away, but I had already penetrated the palace and without my brother's permission met with Julius Caesar, and explained my position: that my father had bequeathed the throne to both of us. And I had witnesses, I had a papyrus where my father wrote that we were equal rulers of Egypt. And my brother, who said that a woman's place is with her husband, not as a ruler of Egypt, that he is a man and will rule alone, thereby broke our father's testament.
Caesar read it and agreed with me. We spent a wonderful night together, when he became my first man. Although he was much older, one might say, he was old enough to be my father. But he took my side. And my brother, seeing this, tried to raise a revolt against Julius Caesar. But he summoned his troops, and my brother had to flee along the Nile (she shows, on some ship), and he drowned. That is, during the pursuit, in this battle, he drowned.
Maxim: Is it true that in those times when you ruled, there was no desert there, and it was a green oasis?
Irina (Cleopatra): There were desert places. Near the Nile there were green fields, and the desert places were further to the west. There were also islands and mountainous areas, closer to the south (shows some mountains). That is, there were different areas.
Maxim: I understand.
52:30 Cleopatra's spirit about the Ankh talisman and magic.
Maxim: Tell me, please, we now have such a concept as "Horus rods." These are two sticks that the Egyptians took in their hands, and it is said that with these sticks — one copper, the other aluminum — you healed yourselves in some way.
Irina: She doesn't know what aluminum is.
Maxim: Were there any...
Irina: No, there was definitely no aluminum then. They didn't know how to make it yet.
Maxim: Simple iron, maybe, and copper.
Irina (Cleopatra): We had various talismans.
(Irina) For example, she shows me this Ankh, which is like a cross. It was dedicated: this semicircle of the Ankh symbolized the sun, and this cross below — it is a person, that is, it is a person connected to the Sun. And this was such a talisman.
Maybe you are talking about these sticks?
Maxim: No, but, by the way, about the Ankh I also want to ask you. They say that these were some secret keys that opened some portals, some doors, something else.
Irina (Cleopatra): They were multifunctional, yes. They symbolized a person's contact with the Sun, that is, with Horus. You know that Horus is the son of Osiris, he was associated with the Sun, with the Sun god Ra. And through the Ankh came such an energy of the Sun, the energy of Ra, it was healing, harmonizing. Everyone wore this Ankh, like you wear crosses in Christianity.
I think the first Christians, when they were in Egypt after the Ascension of Christ, in the 1st century AD, they saw these ankhs and also decided to wear crosses. That is, it is like an analogy. Because it is a very similar custom, by the way. Only the wearing of ankhs was much more ancient, that is, even before Christianity. And the shape is similar, and that they were worn on the neck is also similar.
54:48 Cleopatra's spirit about the development of medicine in Ancient Egypt.
Maxim: How developed was medicine among you? How did you practice it?
Irina (Cleopatra): There were healers, herbalists. Usually the priests did this, because this work was connected with the gods. That is, they prayed to the gods, performed various operations.
(Irina) She even shows some scalpels, bronze ones, perhaps.
(Cleopatra) And they also gave opium tincture, which was obtained from poppies, so that the person would sleep while they performed the operation on him.
Maxim: And they performed operations too, right?
Irina (Cleopatra): Yes, there were operations.
(Irina) She even shows how they inserted teeth and glued them with some glue obtained from wood. Something like that I see now. Well, not teeth, rather, fillings, I now see how they replaced them. Interesting.
55:41 Cleopatra's husbands and children.
Maxim: Tell me, please, who did you truly love in your life?
Irina (Cleopatra): Julius Caesar. And then, after his murder, I was very upset, I had a son from him, my eldest son. And then second, I loved Mark very much, from whom I had three children.
Maxim: And how many children did you have in total?
Irina (Cleopatra): Four.
Maxim: So the first boy. And the other three?
Irina (Cleopatra): Two more boys and a girl.
Maxim: Two more boys and a girl, right?
Irina (Cleopatra): Yes.
56:20 Cleopatra's spirit about her eldest son and significant events in her life.
Maxim: How much were you really interested in the political life of the country?
Irina (Cleopatra): I was interested. I ruled for more than 20 years. I already told you how I had a conflict with my brother over power, and how he died. After that, we lived with Julius Caesar — not as spouses, but we had a love affair. Since he had a wife in Rome, and he did not divorce her.
But while Caesar was alive, he recognized my child as his son. I named him Ptolemy Caesar. Ptolemy, because all the men in our family, as I already said, including my father and my brother, bore this name. And I added the prefix "Caesar." Caesar is not just a name, it is the title of the ruler of the Roman Empire. It was only later, when other people came to power after the murder of Julius Caesar, that they began to say that he did not recognize my son, and that the child was not his. But in fact, he acknowledged him and even allowed him to be named so.
Maxim: Tell me, please, what events in your life do you consider the most significant and why?
Irina (Cleopatra): Significant? This acquaintance with Caesar, when he arrived on the ship. And then the acquaintance with Mark, when he, after Julius's murder, also appeared in Egypt as its ruler. They divided this entire Roman Empire. After Julius's murder, there was a battle between those Egyptians (she shows) who wanted to be independent and the Romans. But the Romans won and incorporated Egypt into the Roman Empire. And Mark became the ruler of this part, like a governor of a large region.
And this acquaintance with him, when he arrived in Egypt. At first, he was very wary of me, saying that in the fight against the nationalist Egyptians, that is, those who wanted independence from the Roman Empire, I did not help the Roman army, did not side with it. But I objected that this was not the case, giving arguments that I was always in favor of Egypt being part of the Roman Empire, because it was large and would protect us if necessary. And I gave him arguments why this could not be done openly.
Why were there nationalist formations in Egypt that wanted separation from the Roman Empire? Because some of these priests and wealthy merchants, that is, the elite, wanted to rule Egypt themselves, all its resources, and not give them to the Romans. And because of this, they said that it was necessary to create an "independent Egypt" to make it a strong state. But they did it simply for personal gain, and the people still would not have gotten anything. But there was such a struggle between these parties — parties of, rather, some political ideas, I would say.
And then Mark and I fell in love with each other. And this was not an accidental meeting: we incarnated, as I already said, three more Souls. We loved each other, and he loved my son from Julius, who was still a child by that time. And he knew exactly who it was, because Julius as a friend had told him that this was his son. And Mark said that he was the heir of the entire Roman Empire. Which displeased the adopted son of Julius Caesar, who felt a threat to his power, because of which he later went to war against Egypt, against this Mark. That is, they had a struggle because of this child.
Maxim: Interesting.
1:01:32 Cleopatra's spirit about columns and secret rooms in Egyptian temples.
Maxim: Is it true that in Egypt some tall columns were created to harmonize space and raise vibrations? Do you know about such columns?
Irina (Cleopatra): Yes. In temples and palaces there were many such marble columns.
(Irina) She shows them, at least I see such a white color.
(Cleopatra) And they really served, firstly, of course, as a symbol of the contact between heaven and earth, because they supported the ceiling, and the ceiling was a symbol of heaven.
(Irina) She shows such a vault, something is painted on it, and it is supported by columns.
(Cleopatra) It was like a contact between heaven and earth. Even inside some columns there were niches.
(Irina) So they opened (she shows). Very interesting how they knew how to build. At least, I now see a person approach, press some stone, some part of the column, and one part of the stone slides to the side like that, and there is a niche.
Maxim: Wow!
Irina: That is, it was arranged like on some hinges there. The column was hollow inside, and I see some books there, papyri, some secret books now.
Maxim: Is it true that under the pyramids, or somewhere else under some structures, there are secret rooms?
Irina (Cleopatra): I already answered this question.
(Irina) She answered.
Maxim: Yes, it's true.
You already described your appearance. The guys here are asking our questions.
Irina: Then, maybe, let's smoothly move on to the exit from the incarnation?
Maxim: Now, just a couple of seconds.
1:03:41 Causes and methods of suicide of Cleopatra and Mark. Fate of the eldest son.
Maxim: Is it true that you yourself decided to leave life by means of a snakebite, or is it just a legend?
Irina (Cleopatra): Yes, I myself left life, but not by means of a snakebite.
Maxim: How then?
Irina (Cleopatra): By means of taking a special tincture with poisonous and soporific plants, so that the poisonous plants would take effect in sleep, so that I would feel nothing.
Maxim: And what was the purpose of this?
Irina (Cleopatra): To avoid shame, because I had already been captured, that is, this is the first goal. To avoid shame, so that I would not be paraded in a cage through Rome, like some slave, an exhibit that was obtained...
(Irina) By some Octavius, I now hear the name [Octavian Augustus — grand-nephew of Gaius Julius Caesar, adopted by him]. That is, by this one, who fought with Mark.
(Cleopatra) He won in his war. And my beloved Mark committed suicide, and I was captured.
Maxim: You decided to commit suicide, right?
Irina (Cleopatra): At first, I also decided to become the beloved of this Octavian, so that he would fall in love with me. But my charms, charisma, and voice had no effect on him. That is, he was very angry that I called my son the natural son of Julius. This undermined his power, because he was the adopted son. Therefore, he did not give in to all this and said: "Your life will be spared, but I will take you to Rome and show you to the people." And I knew how it was done: a person was simply shamed.
(Irina) She shows how a chariot rides, there is a cage in it, and in it with a collar is this captured person.
(Cleopatra) When the ruler of the Roman Empire conquered some people, he could take their king, strip him naked, throw some rags on him, some cloth, and with a chain parade him in a cage with a collar through the entire city, as if to say, "here — I won." And everyone watched, clapped their hands, hooted, and made insulting remarks about this king. And for me, it was easier to give up my life than to endure such shame. After all, I was born into the lineage of pharaohs. This was the first reason.
And the second — I could not accept and come to terms with the suicide and death of my beloved Mark.
1:06:48 Mark Antony's suicide. The death of Ptolemy Caesar.
Maxim: Did Mark also commit suicide?
Irina (Cleopatra): Yes.
Maxim: And how did it happen, how did it happen in general?
Irina (Cleopatra): He drew his dagger (shows a small sword), placed it, that is, held it below like that, sat on the bed himself and fell on it so that it would pierce him.
Maxim: Wow!
So, from the 14th level you came, to the 10th level you left, because this suicide lowered your level?
Irina (Cleopatra): I was at the 10th level at the moment of suicide.
Maxim: You were already at the 10th level, right?
Irina (Cleopatra): Yes, after the exit. Suicide is a method of exiting the incarnation. And I found myself at the spiritual level I was at before that moment.
Maxim: Did you meet your children in the Spiritual World?
Irina (Cleopatra): Yes, later, when they also passed into the Spiritual World. Unfortunately, my eldest son, whom I spoke of as the son of Julius, outlived me only briefly; Octavian executed him. But this is not surprising, because he was his rival. He was barely 17 at the time.
1:08:18 Other incarnations of Cleopatra's Spirit.
Maxim: Tell me, please, what other significant incarnations have you had on Earth?
Irina (Cleopatra): On Earth, I was incarnated in my family, the Ptolemies.
(Irina) She shows that 300 or about 250 years earlier, also in a Ptolemy who ruled 250 years before her life.
(Cleopatra) And I was also incarnated on Earth in the period just before the war 12,000 years ago.
(Irina) Then she also lived, but there were no such significant achievements, she was just an ordinary woman, so to speak.
(Cleopatra) And I had total incarnations...
(Irina) Not many. She shows me that she had only 43 incarnations in total across all worlds.
Maxim: Forty-three incarnations across all worlds, right?
Irina: That is, by our standards, she is a young Soul.
Maxim: Yes, a young Soul.
Irina: Because she has little experience of incarnations.
1:09:23 The fate of Cleopatra's body.
Maxim: Tell me, please, do you happen to know where your mummy or tomb is now? And will this tomb be found? Or is there no tomb at all?
Irina (Cleopatra): I reviewed this moment. Since my body was found by Octavian's servants, he became angry with me for committing suicide, because he did not want that, he wanted to take me to Rome. And he ordered my body to be wrapped in cloth and simply thrown into the sea, to be fed to the fish.
(Irina) Some sharks, something like that.
Maxim: So there is no your tomb? Your body was dissolved in the ocean by fish, right?
Irina (Cleopatra): In the Mediterranean Sea, yes.
(Irina) They took it on a ship and threw it somewhere into the depths.
1:10:23 Cleopatra's spirit about beauty secrets.
Maxim: Tell me, please, your name "Cleopatra" is used today for various procedures for women. And what advice and beauty secrets could you give to modern women?
Irina (Cleopatra): You know, specifically for beauty, I would advise using clay for the skin (she shows). Clay rejuvenates, draws out from the skin those toxins and impurities that cause aging. These are like mud baths, only they are not of pure mud, but with clay. Red clay is especially useful for this. Mix it with water and apply it like a cream. And we even took mud baths. That is, there were such metal vats, they were filled with mud and silt collected from the Nile. And they took a bath there, that is, they lay down up to their necks like that.
It's like a swamp. But we even found the smell pleasant, because it smelled of the river. And this silt drew out all the toxins from the skin, and the skin became young, elastic, and we gained strength.
(Irina) How do you like such a mud bath?
Maxim: Yes, a cool mud bath.
Irina: Interesting: to bathe in mud! And then in a pool, she shows, they washed it all off.
(Cleopatra) First, slaves poured water from a bucket, washed off the mud, and then we swam in the pool.
1:12:14 Short questions and answers.
Maxim: So, dear friends, I am moving on to the questions you wrote on the YouTube channel. You can also write your questions now, I will read them.
(reads questions) So... "Thank you for the broadcast," they write to you, Cleopatra.
"Tell us, please, where did the Library of Alexandria disappear to?" Are there any remnants of this library, or do you not know?
Irina (Cleopatra): I don't know. That was not in my time.
Maxim: "Did you see the tomb of Alexander the Great?"
Irina (Cleopatra): No.
Maxim: Here they congratulate you, Irina, in general.
Irina: Thank you all!
1:13:09 Rejuvenating remedies from Cleopatra.
Maxim: What rejuvenating remedies did you yourself take to look beautiful? Besides these clays, baths, were there any other remedies?
Irina (Cleopatra): I had a special diet — fish, olive oil, red wine from grapes.
(Irina) Dry wine with some herbs she shows.
(Cleopatra) Herbs that were collected near the Nile, just in these green valleys.
(Irina) She shows me, but I don't know them, they grow in the south. Some armuchi, armushon — it's not in Russian at all, and I don't have such words in my memory in Russian.
Maxim: Tell me, please, at what age did your discarnate? How old were you?
Irina (Cleopatra): 39.
Maxim: 39 years old.
(responding to a remark from the chat) Yes, indeed, I have parasitic words, for example, "wow." Sometimes I do this when I'm surprised, so I'll pay attention to it. Very interesting.
And for washing the body, what remedies did you use? And how did you style your hair, that is, take care of your hair?
Irina (Cleopatra): The priestesses made various creams, besides these muds I mentioned. They were based on olive oil, with the addition of honey, flower pollen (shows how they collected pollen), juice from various flowers.
(Irina) I now see something like magnolia, and an extract was made from its flowers, some kind of essential oil.
(Cleopatra) They also used mint leaves, sage leaves. They made an infusion from all this, added it to this olive oil, and mixed everything. The result was like a cream, but it was natural.
Maxim: And for the hair?
Irina (Cleopatra): We washed our hair with various herbal infusions.
(Irina) She also shows how she sits on some wooden chair. Two women — slaves, maids — approach her, one carries a jug with one herb, the other a jug with other herbs, they pour the infusions on her head and wash her hair themselves, style it. That is, she did not do it herself. She just sat, and they took care of her. They even gave her a massage, she shows.
1:16:01 Cleopatra's spirit about the reasons for lowering her spiritual level.
Maxim: Tell me, please, why do you think you ended up at the 10th spiritual level? Why did you lower your level from 14th to 10th?
Irina (Cleopatra): Because of resentment, indignation toward Octavian and toward my brother as well for wanting to overthrow me. Because of these resentments, I lowered my level to the tenth.
Maxim: So, resentments, destructiveness?
Irina (Cleopatra): Resentments and despondency over Mark's death.
Maxim: Did you travel to various parts of the world?
Irina (Cleopatra): To Rome. I traveled around Egypt and to Rome.
Maxim: You traveled to Rome.
1:16:43 The wish of Cleopatra's Spirit to modern people.
Maxim: And the last question for you. What would you like to wish now, through Irina Podzorova, to modern people who are watching us?
Irina (Cleopatra): I want to wish you, dear friends, to value your life, your incarnation, and those who are near you — your loved ones, your children. These souls are not with you by chance, but so that you can help each other fulfill your life's tasks. And I wish you to value every day spent with them, because it could be the last. Either you or they may pass into the Spiritual World. This is the first.
And second — I want to wish you that even if a terrible grief happens in your life, never think about killing your body, and especially never act on those thoughts. Whatever happens, if you are alive, it can be fixed. But when your body is dead, you can only fix things in another body, under other circumstances. And the one who will make amends will no longer be you; it will simply be part of your Spirit, and you in that Spirit will be just a small particle.
1:18:24 Conclusion.
Maxim: Thank you very much, Cleopatra, for a cool, wonderful broadcast! And I thank you that your incarnated part on the planet Tumesout gave consent to this broadcast with Cleopatra. Because, as we already said, Cleopatra is now incarnated on the planet Tumesout as a man. And this man gave his consent to our interstellar friends, our curators, so that we could convey this information to you.
Once again, a huge thank you to you, Irina! A huge thank you to Cleopatra!
And a huge thank you to you, dear viewers, for liking, helping the channel advance, for writing comments that other people will see who will watch our channel. And in general, a huge thank you to everyone for your trust and love!
Until new meetings! Goodbye, everyone!
Irina: Goodbye, everyone! Thank you.
July 12, 2025
Conference participants:
Irina Podzorova — contactee with extraterrestrial civilizations, with subtle-material civilizations, and with the Spiritual World;
Maxim Rusan — head of the "Cassiopeia" project and the Center for Spiritual and Physical Development;
Cleopatra — phantom of the last ruler of ancient Egypt from the Ptolemaic lineage. Her Spirit is currently incarnated on the planet Tumesout as a man named Artishoar.
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