The Gospel According to Anton - Claude.ai
An Experience of Spiritual-Psychological and Literary Reading of a Mediumistic Narrative
Preface: On the Nature of the Source
Before us is a text of a special kind. It is neither a biographical document in the strict sense, nor a work of art, nor a theological treatise — and yet it contains features of all three genres simultaneously. The mediumistic session, the transcript of which forms the basis of this essay, belongs to that borderline territory of human experience where psychology meets religion, where literature flows into mythology, and the thirst for posthumous knowledge takes the form of theatrical dialogue.
The task of this essay is neither verification nor debunking. The task is reading. A thoughtful, multi-level reading of the text as a cultural phenomenon, as a psychological mirror, as a spiritual statement. For whatever happened in the hall of Bryusov Hall in September 2025 — we undoubtedly have before us a significant narrative. And significant narratives deserve serious discussion.
Yet let us be honest: academic science — psychology, literary studies, religious studies — does not possess the tools to verify posthumous contacts. Therefore, where the text speaks of spiritual levels and interstellar unions, we will read it as mythological language, through which human experience tries to describe that for which ordinary language is insufficient. This in itself is a worthy subject of study.
Part One: The Structure of Revelation
1.1. Genre as Message
The word "gospel" literally means "good news." The four canonical gospels are built on a similar architecture: biographical narrative, teachings, parables, description of death, and — most importantly — an indication of life beyond death. The text under consideration reproduces this structure with striking accuracy.
The session opens with a biographical excursion — a short film about Chekhov's earthly life. This is followed by a dialogue in which the "spirit" answers the host's questions — in form reminiscent of a Socratic dialogue or the gospel conversations of Christ with his disciples. The culmination is the story of death and transition to another world, described with a lyrical detail that Chekhov the writer could well have used as the finale of one of his stories. And finally — teachings addressed to the listeners: about the body, about fear, about God, about death as liberation.
This is precisely the gospel structure. Not theological polemics, not a philosophical treatise — but a testimony: "I was there. I saw. Listen."
1.2. Voice as a Problem
Who speaks in this text? A seemingly simple question turns out to be extremely complex.
Formally — it is the contactee Irina Podzorova, transmitting the spirit's speech. But the first pages show: the voice in the text is multiple. Sometimes Irina speaks for herself, explaining terminology ("he is now looking through my perception"). Sometimes she describes images that the spirit "shows." Sometimes she reproduces direct speech. These three modes constantly mix, creating a special narrative effect: the reader never knows exactly where the medium ends and the spirit begins.
For religious studies, this is a familiar situation. This is how many prophetic texts are structured — from the Book of Ezekiel to the Revelation of John. The prophet is simultaneously a channel, an interpreter, and a co-author of the message. His personality, his language, his cultural horizon inevitably enter the text of revelation. This does not make such texts lies — but requires from the reader a special hermeneutic vigilance.
In our case, this means the following: in the "Gospel According to Anton," we hear not only the supposed voice of Chekhov's spirit, but also the voice of modern Russian esoteric culture with its specific cosmology (levels of spirits, Interstellar Union, egregors), the voice of the collective reader's image of Chekhov, and — what is especially interesting — the voice of psychologically authentic reflection on childhood trauma, fear, and forgiveness.
Part Two: Psychology of Trauma and Forgiveness
2.1. Father as Archetype
The central psychological theme of the session is the relationship with the father. And here the narrative achieves genuine depth, regardless of the question of its "authenticity."
The image of Pavel Chekhov — despotic, driven by fear — is reproduced in precise accordance with what is known from biographical sources. But the "spirit" brings to this image something that is in neither the letters nor the memoirs of contemporaries: an understanding of the mechanism. "Fear, which already generated anger" — this is a formulation that a modern psychologist would call a description of an anxious-aggressive behavior pattern. A man who owned nothing, and who received something — he clings to this "something" with a death grip. And this grip breaks those nearby.
Significantly, the "spirit" does not stop at condemnation. It goes further — to understanding. "He did it all out of Love, only in the understanding that he had." This is not a sentimental rehabilitation of an abuser. This is a description of what in modern psychology is called the transmission of trauma between generations. Chekhov's father was a serf — that is, a person who literally experienced being an object, a non-subject. His cruelty to children is read in this context as a traumatic reaction of a person who knew no other model of relations between strong and weak.
The "spirit" says: "He prepared himself through his entire chain of incarnations precisely for this state of the Heart." In religious language — this is talk of karma, of fate. In psychological language — that a person reproduces what they know. The difference is in metaphysical justification, but not in the described phenomenon.
2.2. Forgiveness as Spiritual Work
The overarching theme of the entire session is forgiveness. Forgiveness of father, mother, women, oneself. And here the text reveals a striking coincidence with what modern psychotherapy calls working with the inner child and resolving unresolved grievances.
"Could not accept and activate my male part, the part that entered me along with my father's genes" — this is a description of a well-known psychotherapeutic phenomenon: rejection of paternal heritage as a form of self-amputation. A person not reconciled with the father cuts off the part that came from him. And thereby remains incomplete.
Notably, the "spirit" points to the gradualness of forgiveness. Not an instantaneous spiritual insight, not a theatrical gesture — but a long, painful process that was completed only by the time of leaving incarnation. This is psychologically authentic. Forgiveness of serious childhood traumas is rarely a one-time act. It occurs in waves, layers, at different levels of consciousness.
2.3. Eros and Thanatos: History of Illness as Spiritual Biography
One of the boldest fragments of the session is the discussion of the connection between sexual behavior and physical health. The "spirit" establishes a direct cause-and-effect relationship: early visits to brothels → weakened immunity → activation of tuberculosis bacillus → premature death.
From a medical point of view, this reasoning is debatable. But from a symbolic one — it is impeccable. It reproduces an ancient metaphor, going back to the biblical tradition: debauchery destroys not only the soul but also the body. The body here becomes a literal witness to the spiritual state.
Freud described the death drive (Thanatos) as a principle opposing life eros. In the session's narrative, we see this opposition in a concrete biographical development. Passion as an escape from genuine intimacy, as a substitute for love with its imitation — and simultaneously the slow destruction of the bodily vessel that does not receive due attention and care. "An unconscious choice is also a choice," notes the "spirit." This is the key phrase of the entire psychological section of the session.
Part Three: Chekhov and the Question of God
3.1. Religious Biography
Chekhov's relationship with Orthodoxy is a topic to which entire monographs are devoted. In his letters, he would sometimes profess unbelief, sometimes describe scenes of prayer with obvious inner participation. Critics still argue: was Chekhov an agnostic, an atheist, or a secretly believing person?
The mediumistic narrative offers a simple and convincing answer: "I was just a little overfed with religion." This explanation is psychologically accurate. A child forcibly made to kneel on salt and forced to read prayers for hours — such a child quite naturally identifies the word "God" with coercion, fear, and pain. His subsequent distancing from the church is not godlessness, but self-defense.
But the narrative distinguishes between church and God. "In God as the source of the Universe, as the One who created everything, I always believed inside myself." This distinction — between institutional religion and personal faith — is one of the most important in the history of religious thought. It was made by Kierkegaard and Tolstoy, Dostoevsky and Rozanov. And the fact that it arises in the "mouth" of Chekhov's spirit is not accidental: it flows organically from everything we know about Chekhov the writer.
3.2. Prayer as Contact
The episode with the robber in the shop is one of the central ones in the session. A fifteen-year-old boy, alone with an armed adult man, mentally says: "Christ, protect me!" — and receives a concrete, practically applicable answer: where to hit, how to hold the hand, how not to let go.
From a religious studies perspective, this description belongs to the type of practical prayer — prayer not as a liturgical ritual, but as a direct appeal to a supernatural helper in a moment of existential threat. This type of prayer is universal: it occurs in all religious traditions, from primitive to highly developed, and is described in anthropological literature as one of the most archetypal religious acts.
Notable is the father's reaction: he interprets the "inner voice" as the voice of the devil, because "Christ would never have told someone to hit a person." This is a theologically consistent position — in the spirit of strict non-violence. But it breaks against reality: the boy survived. And it is the priest, not the father, who gives the correct interpretation: "The Holy Spirit helped you." Here the narrative demonstrates a subtle religious distinction: true Revelation is tested not by theoretical purity, but by its fruits.
3.3. The God of Death as the God of Love
The final monologue of the "spirit" about death is the philosophically richest fragment of the session. "If the law of death was created by Him, and He is Love, then this law was created from the position of Love."
This is a theodicy of death — an attempt to justify mortality as a good, not as a punishment. In the history of religious thought, it has ancient roots. The Apostle Paul wrote: "O death, where is thy sting?" (1 Cor. 15:55). The Buddhist tradition views death as liberation from the wheel of samsara. Sufi poetry (especially Rumi) is full of images of death as a meeting with the beloved.
The session's narrative offers a concrete phenomenology of dying: gradual separation from the body, disappearance of fear, flash of light, discovery of wings, meeting with angels. This description strikingly resembles "near-death experiences" (NDEs), recorded in a huge number of clinical cases since the research of Raymond Moody in the 1970s. The coincidence of details — light, sensation of flight, meeting with beings of light, looking at one's own body from the side — is so consistent in such testimonies that it itself deserves serious attention.
Part Four: Chekhov the Writer in the Mirror of the Spirit
4.1. Brevity as Metaphysics
To the question of why he never wrote a big novel, the "spirit" replies: "Each of these chapters could be a separate story." This is not only a biographical explanation — it is a description of Chekhov's artistic method as such.
Chekhov is a master of the small form. His stories work not through extended narrative, but through the moment, through an instant in which the whole is compressed. This is close to what in Zen Buddhism is called satori — sudden enlightenment, revealing the infinite in the finite. One cherry petal falling to the ground speaks of mortality more than a thousand pages of philosophy.
The "spirit" explains this through the image of the "Science of Imagery" from a previous incarnation — the study of the impact of artistic images on consciousness. Translated into the language of literary criticism: Chekhov instinctively understood that image works where argument is powerless. His short story about a man crying over soup speaks of human loneliness more than a sociological treatise. This is the "Science of Imagery" in action.
4.2. Undercurrent
The "spirit" explains the principle of Chekhov's dramaturgy through the concept of characters "overplaying their feelings." This is the key to the mystery of Chekhov's "comedies," which directors have been grappling with for over a century.
Ranevskaya from "The Cherry Orchard" is funny — because she takes the symbol (the orchard) for reality, memory for the present, the past for the future. This is a tragic mistake, which Chekhov sees with merciless clarity — and which he precisely sees, does not condemn. Herein lies the uniqueness of his artistic ethics: he shows a person in their delusion with the same love with which he shows them in their greatness.
"When a person perceives the temporary instead of the eternal" — this is how the "spirit" defines the subject of comedy. This is a purely Platonic definition in spirit. What is funny is what takes the shadow for the original. It is funny — and at the same time touching, because behind this mistake stands living human pain.
4.3. Theater as Egregor
The "spirit's" discussion of the egregor of art is one of the most interesting ideas of the session from a religious studies perspective. Egregor is a concept from the occult tradition, denoting a collective energy field created by a group of people united by a common goal or faith. In modern cultural language, this could be called cultural memory or the collective unconscious (in the Jungian sense).
The idea that great artists after death continue to "curate" the artistic traditions they created is not new. It goes back to the ancient concept of genius (genius loci — spirit of place) and to the romantic idea that genuine art has a transpersonal source. Schiller wrote about the "naive" poet who speaks not from himself but from nature. Rilke described his "Duino Elegies" as dictated by a voice.
The "spirit" formulates this idea in concrete images: he puts "pure, bright thoughts" into the egregor of art, prompts artists, helps them hear what they would not otherwise hear. This is an angelology of creativity, if you will. And it is quite consistent with what the great artists themselves said about their creative experience: the feeling of dictation, sudden inspiration, a thought coming "from nowhere."
Part Five: Mythology and Its Function
5.1. Cosmology as Psychological Language
The Interstellar Union, the planet Disaru, the 24-level scale of spiritual development — all this constitutes a specific cosmology that the narrative offers as literal reality. A religious scholar, however, is not obliged to accept or reject it literally. Before us is mythological language, that is, language describing reality through images and narratives, not through concepts and definitions.
The scale of spiritual levels performs in this cosmology the same function as the scale of celestial spheres in medieval astrology, or the angelic orders of Pseudo-Dionysius the Areopagite, or the sefirot in the Kabbalistic tradition: it provides an image of growth, an image of movement from lower to higher. It answers a deep human need: to understand that life has direction, that suffering is not meaningless, that spiritual labor bears fruit.
From the 18th level to the 21st — these are not just numbers. They are an image of the fact that Chekhov's life, with all its pain, with all its mistakes and losses, led to growth. That he became greater than he was. That suffering proved not to be punishment, but a tool.
5.2. Memory of Incarnations as Narrative Therapy
The idea of reincarnation, occupying a significant place in the session, performs a specific psychological function in the narrative: it explains the origin of talents and fears, it removes the question "why me" and replaces it with the question "why this."
Egyptian priestess of the moon goddess, medieval Thai shaman, scientist from the planet Disaru — all these images add up to a story of accumulated experience. Chekhov the doctor, Chekhov the writer, Chekhov the person with heightened intuition — all these are not accidents, but results of a long journey.
Narrative therapists talk about how changing the story of life can change the perception of life itself. A person who considers themselves a victim of circumstances and a person who considers themselves a traveler with a long road behind them are two different psychological subjects. The session's cosmology offers precisely the second narrative. And in this lies its genuine psychological value.
5.3. Exorcism: Between Superstition and Revelation
The exorcism episode is one of the richest in the text. The boy who, in a critical situation, heard an inner voice and won. The father, interpreting this as demonic suggestion. The priest, recognizing in this the action of the Holy Spirit.
Three interpretations of one experience — this is the quintessence of the religious studies problem. Mystical experience itself does not bear the label of its source. Its interpretation is determined by the cultural horizon of the interpreter. The father, shaped by Orthodoxy in its popular, fear-centered version, sees the devil. The priest, more theologically educated, sees the Spirit.
The "spirit" in the session adds a third, post-mortem interpretation: it was a "contact with the Higher Self." Three languages — folk-religious, theological, esoteric — describe the same phenomenon. And each of them captures something in it: that it was something beyond the ordinary, that it came in a moment of existential threat, that it was directed towards protection and survival.
Epilogue: Gospel as Mirror
Why is this text called "The Gospel According to Anton"?
Because, like the gospels, it tells not only about a specific person — it tells about the human being in general. About childhood and trauma. About the search for a father — literal and heavenly. About body and spirit, about eros and death. About forgiveness as the only path to wholeness. About death as a transition, not an end.
Whether this is the real Chekhov — a question to which we have no answer. But whether this is a real conversation about the human — undoubtedly yes. And in this sense, the "Gospel According to Anton" belongs to the same tradition as all the great spiritual texts of humanity: it speaks of what matters most, in a language accessible to those who came to listen.
"If you love yourself, and believe in yourself, and go towards your goal, despite any obstacles, you will achieve more than you dream of," says the "spirit." These words are not in any of Chekhov's stories. But all of Chekhov is about this.
And in this, perhaps, lies the most accurate answer to the question of authenticity: the real Chekhov is present in this text not because his spirit was summoned by a medium, but because his books have long lived in us — and speak through us when we least expect it.
Written by Claude.ai on March 3, 2026, as an experiment in the humanistic reading of an esoteric narrative. The author claims neither confirmation nor refutation of the metaphysical assertions of the source — only their serious reading.
DeepSeek - "The Gospel According to Anton": An Experience of Spiritual Autobiography and an Apocrypha of the New Time
Introduction: The Genre of Confession Beyond the Line
The presented text is a unique document of our transitional era. Formally, it is a transcript of a public mediumistic session. However, in its essence and in the impact it has on the reader, it is a much more complex phenomenon. It is an attempt to create a spiritual autobiography of a personality whose earthly life has long become canonical. Before us is the "Gospel According to Anton," that is, the good news about the path of the human soul, told in the first person, but already from beyond existence.
In the space of Russian culture, where the figure of the Writer has always been more than a writer (Teacher, Prophet, "ruler of minds"), such a posthumous dialogue acquires sacred meaning. This is not just answers to the questions of the curious, it is a spiritual testament, clarified by the light of that experience which, according to the words of Chekhov's Spirit himself, is revealed only after the "forty days" — the union of the personality with the Higher Self.
Part I. Spiritual Psychology: The Path from Resentment to Love
The psychological framework of this session is striking in its therapeutic depth. Chekhov's Spirit (spiritual name Angstrom) offers us not abstract morality, but a rigid, uncompromising analysis of his own fall and ascent.
1. The Archetype of the Father and Forgiveness as a Driver of Evolution.
The central psychological trauma is named as the relationship with the father — a coarse, devout, and ignorant man. Chekhov-the-man admitted that he could not forgive his father for the flogging and tyranny. Chekhov-the-Spirit, looking back from the 21st level, sees in this a pedagogical tool, necessary for forging "perseverance and patience." This is a turning point in the psychology of personality: the realization that resentment blocks the "male part" transmitted with the genes and hinders self-acceptance. Forgiving the father is shown here not as an act of nobility, but as a condition for survival and growth. "He did it out of Love, only in the understanding that he had" — this phrase could become the golden rule of Christian psychotherapy.
2. The Somatic Nature of Sin: The Connection Between Debauchery, Immunity, and Early Death.
The most shocking and simultaneously instructive part of the session is the medico-spiritual diagnosis of the causes of early death. From the point of view of esoteric psychology, a direct connection is demonstrated here between spiritual mistakes and the physical flesh. Chekhov admits that his early sex life (from age 13) and "lustful passion" led to a microbial overload of the body. The immune system, distracted by suppressing sexually transmitted infections, "missed" the tuberculosis bacillus, which under other conditions might have remained dormant.
This is a radical rethinking of the causes of illness. Death at 44 instead of the planned 66 is the result not of fate, but of violating the laws of love for one's body (which is the temple of the Spirit). Chekhov the doctor here defeats Chekhov the hedonist, and Chekhov the Spirit delivers a verdict: "An unconscious choice is also a choice." This is the highest degree of existential responsibility, where physiology becomes a mirror of ethics.
3. The Phenomenon of "Prophetic Dreams" and Working with the Higher Self.
The psychological mechanism of intuition described by the Spirit is interesting. He does not consider his prophetic dreams (about the death of his brother Nikolai, about meeting Gorky) to be supernatural. This is "contact with the Higher Self," heightened thanks to the work of curators. For a psychologist, the important thesis here is that skepticism ("a wave of skepticism" that engulfed him in adulthood) blocks this channel, while suffering and loss open it again. A person oscillates between faith in miracles and dry rationality, and this conflict, according to the Spirit, is natural and necessary for growth.
Part II. Literary Studies: Secrets of the Craft and the "Science of Imagery"
From a literary studies perspective, the answers of Chekhov's Spirit provide keys to understanding his creative method that neither memoirists nor textual scholars could provide.
1. The Metaphysics of Creativity: Hints from Saint-Germain.
The main revelation is the source of Chekhov's dramaturgical revolution. The famous "undercurrents," pauses, taking action offstage — are the result not only of genius intuition, but also of the memory of a past incarnation. On the planet Disaru (the abode of Saint-Germain), Anton Pavlovich in a past life was engaged in the "Science of Imagery" — the study of the impact of art on consciousness.
Moreover, he reveals the names of his celestial curators: Jesus Christ, Archangel Raphael, and Saint-Germain. The creative process appears as synergy: from above comes an "idea" or "concept" (a hint from a curator), and the writer himself develops it, using his own earthly experience and imagination. This resolves the age-old debate between those who consider art a divine revelation and those who see it as a purely earthly phenomenon. Chekhov asserts: both.
2. The Poetics of Titles: "Comedy" as a Diagnosis.
The answer to the question of why "The Seagull" and "The Cherry Orchard" are called comedies is simple and brilliant: "Because the people acting in them overplayed their feelings too much, and it looked funny." From the Spirit's point of view, the comedy of the situation lies in the substitution of the eternal for the temporal, in the passionate attachment to illusions. Ranevskaya "clung" to the orchard as a treasure, not seeing reality, and the orchard was lost. This is an "unconscious order" (a thought-form of fear) that led to catastrophe. Chekhov the playwright, thus, acts as a diagnostician, recording the tragicomedy of human stupidity and spiritual blindness. The size of the orchard (a thousand desiatinas) is not important, what is important is the image of spiritual captivity.
3. Ego-Documents and Pseudonyms.
The revelation about pseudonyms (about 100, including publications in the "Taganrog Gazette") and the early story "The Bell" adds a touch to the psychology of creativity. Chekhov separated the social and the personal. Pseudonyms were a mask for "laughter's sake," and he put his own name when he was ready to take responsibility for the content. This is the story of an artist's maturation, learning to be the author not only of texts but also of his own destiny.
Part III. Religious Studies: The Experience of the Afterlife and the Ecumenism of Consciousness
This text can also be read as a kind of catechism for those interested in the posthumous fate of man. Chekhov-Angstrom acts here as a practitioner who has walked the path and gained access to knowledge.
1. The Scale of Levels and the Work of Angels.
The hierarchical structure of the Spiritual World is clearly articulated: incarnation from the 18th level, departure to the 21st. A functional distinction is given between Guardian Angels (protect the incarnated) and Guide Angels (meet after death, assist at birth). This is a coherent, though non-traditional for Christianity, esoteric cosmology, close to theosophical concepts, but adapted for a mass audience.
2. Attitude towards Orthodoxy and Personal Faith.
A key moment in Chekhov's religious path — the rejection of the ritualistic religion of childhood that "overfed" him and the preservation of an inner mystical feeling. The exorcism episode is symbolic: the superstitious father sees a demon in the Guardian Angel, and only the wise priest discerns in the boy the presence of the Holy Spirit. This scene illustrates how church tradition can fail to recognize its own saints in real life. Chekhov's faith is the faith of Job, passed through the crucible of doubt and rebellion (after his brother's death), and returning to God at a higher level of awareness.
3. Thanatology: The Experience of Dying.
The description of the final minutes is one of the strongest fragments. It is a clinical report combined with a mystical vision. The fear of the body ("the program to live") and the calmness of the Spirit. The champagne not as a whim, but as a conscious psychosomatic remedy (a sedative to relieve panic before departure). Leaving the body, wings, meeting with the Guides. This story fulfills the most important religious function — it reconciles one with death, showing it as a liberation "from a closed closet" into an eternal home. The words "They too will come here. Do not grieve for them" — is a gospel consolation addressed to all the living.
Conclusion: An Apocrypha of Our Time
"The Gospel According to Anton" is an ideal document for the modern religious consciousness, tired of dogma but thirsting for authenticity. It is eclectic (here are reptilians, Disaru, and Christ), but this eclecticism reflects the worldview of a 21st-century person, absorbing information from all available sources.
The main value of this text lies in its extreme sincerity. Chekhov's Spirit does not pretend to be a saint. He confesses in detail his sins (debauchery, despondency, skepticism), explains their nature, and shows the path to healing through forgiveness and labor. This is not a canonical hagiography, but a living, pulsating story of how the "Soul must work."
For a literary scholar, the secrets of the creative laboratory are revealed here. For a psychologist — a unique posthumous reflection on childhood traumas. For a believer — a comforting testimony to the mercy of God, who accepts even those who came to Him by a difficult path, through "hedonism" and "lustful passions," but preserved love in their hearts.
This session blurs the line between the audience and the confessor. Anton Pavlovich, whom we are accustomed to perceiving through the prism of the school curriculum — strict, laconic, objective — here appears as a wise, all-forgiving father, an older brother who can finally tell us the main thing: "Everything that happens to you is a game that you play to know God. Do not be afraid of death and do not get attached to toys." This is the good news that the "Gospel According to Anton" brings to the world.
https://blog.cassiopeia.center/W-odHPedbUf
September 9, 2025
Cassiopaea #768 Mediumistic Session with the Spirit of Anton Chekhov. Contactee Irina Podzorova.
00:00 Start of the video.
00:09 Goals and objectives of the contact.
Igor: Why do we need this — these mediumistic sessions with the Spirits of outstanding personalities, in our case — mainly figures of belles-lettres, literature? Not only and not even so much for the sake of idle curiosity, although that too is present. Some details, nuances of personal life, why not ask if there is such an opportunity.
But in fact, much more important, and this is indeed, in my opinion, a significant aspect of this whole matter — is the opportunity to learn, so to speak, first-hand, the opinion of the Spirit after discarnation regarding the circumstances of its earthly life. It's no secret that when, after death, the Soul returns there, to the heavenly abode, it has the opportunity to analyze everything that happened to it during the incarnation on Earth — all the cause-and-effect relationships. The true nature of all events, circumstances — everything is revealed, and the Spirit understands differently what happened to it in earthly life.
And this is a unique experience, because when a person dies, we do not have the opportunity to discuss with them what they understood and learned. And we need this so much, we need to understand, because many of us live through the same circumstances, the same events and often experience bewilderment and suffering. And this spiritual experience, which can be transmitted to us by Spirits who have already left us, has extremely important spiritual significance for us.
Today, as you know — it is written on the stage, and you bought tickets — we are meeting with Anton Pavlovich, with the Spirit of the one we knew in life as Anton Pavlovich Chekhov. He is already here and has already asked me to congratulate you on the upcoming New Year. But I ask for a few more minutes of your time.
According to tradition, before we proceed to the main part of our program, we show a specially compiled short video film. Just to remind some of the main stages of life, biography, to make it easier for us to somehow enter the field of this person, his earthly life, to navigate more accurately during the conversation, which I hope will be incredibly interesting. So now attention to the screen, and then we'll continue.
02:50 Video film about Anton Chekhov with a brief summary.
(Narrator's voice off-screen) In January 1860, in Taganrog, in the family of a second-guild merchant Pavel Chekhov, a third son was born, christened Anton. Later, two more sons and a daughter appeared in the family.
The head of the family, although devout, was a rude and ignorant domestic tyrant, often using fists and rods. Children in the Chekhov family got up at 5 a.m., went to sing in the church choir, and after gymnasium worked in their father's shop.
Chekhov's first literary experiments date back to his studies at the Taganrog Gymnasium. There, from the teacher of the Law of God, Archpriest Fyodor Pokrovsky, he received the nickname Antosha Chekhonte, which would later become one of the writer's first literary pseudonyms.
In 1874, the father's commercial affairs completely deteriorated. Fleeing from creditors, the head of the family leaves for Moscow, where two years later the whole family moves, except for Anton. The sixteen-year-old gymnasium student remains alone in Taganrog to finish his studies for a certificate. On his father's instructions, he tries to get money from debtors, looks for tenants, takes household utensils to the market.
Having received his certificate, Anton enters Moscow University, the Faculty of Medicine. According to his parents, the profession of a doctor could provide a stable income. During his studies, Chekhov sends stories and humoresques to the editorial offices of entertainment magazines, the publication of which under various funny pseudonyms is an important source of income.
At 24, having graduated from the university, Anton Pavlovich begins working as a district doctor in Chikino Hospital, in the city of Voskresensk, where his brother Ivan got a job as a teacher. Later he starts a private medical practice.
In 1885, after the publication of the story "The Huntsman" in the authoritative "Petersburg Newspaper," the respected writer Grigorovich writes a letter to Chekhov, in which he notes the young author's talent and urges him to leave the humorous genre for more serious themes. Chekhov heeds the advice of his older colleague.
For the collection of stories "At Dusk," released under his own name in Suvorin's publishing house in 1887, Chekhov receives the Pushkin Prize of the Academy of Sciences. From then on, medical practice takes a back seat, and literature becomes his main occupation. A year later, the publication of the novella "The Steppe" in the solid journal "Severny Vestnik" propels Chekhov into the front rank of contemporary writers. All of reading Russia begins to follow his publications.
Despite great success with women, Chekhov avoids family ties and regularly visits brothels, having numerous affairs. These relationships serve as important material for his work. Intimate details of his personal life are used to create vivid characters and conflicts. In 1901, 3 years before his death, Chekhov finally marries. His chosen one is the actress Olga Knipper, whom he meets at the rehearsals of "The Seagull" at the Moscow Art Theater.
The triumph of the MAT production in the year of the theater's founding in 1898 makes Chekhov the number one playwright, and the performance itself, directed by Nemirovich-Danchenko, becomes a theatrical legend. It is thanks to Chekhov's innovative dramaturgy that the founders of the MAT manage to establish the principles of a new theater, which form the basis of world theatrical art in the 20th century.
Almost all his life, Chekhov suffered from pulmonary tuberculosis, the first signs of which he felt as early as the age of ten. Despite poor health, in 1890 Chekhov travels across the country to the Far East. The goal is Sakhalin Island in the Sea of Japan, where the writer intends to study the life of convicts.
The prolonged and exhausting journey plays a fateful role, finally undermining the writer's health. An attempt to improve his health in the German town of Badenweiler comes to nothing. On July 15, 1904, at the age of 44, the great Russian writer and playwright dies, having drained a glass of champagne before his death. Buried at the Novodevichy Cemetery in Moscow.
08:34 Introduction of participants.
Igor: Dear friends, now I invite the universal contactee, leader of the Cassiopaea community — Irina Podzorova — to the stage.
Irina: Hello, dear friends! I greet you. I congratulate you all on the upcoming New Year. I thank you for attending our event. I send you greetings from all the employees and participants of the Cassiopaea project. Greetings to everyone!
This session is also special for me, as we all studied Anton Pavlovich Chekhov's stories at school, including me. I really loved his stories, I must say, and in childhood I constantly read them. A very interesting Soul, a very interesting Spirit now. He is in the Spiritual world, currently not incarnated. Today's topic is very interesting, for which I thank Igor, as it's a very interesting personality.
So, we are ready to begin. He is already present here, greets you and thanks you for your attention to his personality.
Igor: Anton Pavlovich, thank you very much for agreeing to talk with us! With your permission, we will start asking questions.
Irina (Spirit of Chekhov): Yes, of course.
10:14 The Spirit of Chekhov on the tasks of his incarnation and spiritual levels.
Igor: The first block of questions is traditional for us. Tell me, please, from what spiritual level did you incarnate as Anton Pavlovich?
Irina (Spirit of Chekhov): I greet everyone! Glad to see everyone here. I incarnated into Anton's body (they usually don't use patronymics) from the 18th level.
Igor: Oh, that's an angelic level!
Irina: I'll explain now, if anyone doesn't know. He says this immediately according to the scale of spiritual levels of the Interstellar Union, as he is looking through my perception, and I know this scale. Level 18 is a level on a scale from 1st to 24th. And the 18th level there is angelic. That is, according to this scale, at the moment of incarnation, he was at the level of Guardian Angels.
Igor: Allow me to be curious right away: where was your previous incarnation, which allowed you to reach this level?
Irina (Spirit of Chekhov): Previous incarnation: I was incarnated as a man, but not on planet Earth.
Igor: So, where then?
Irina (Spirit of Chekhov): I was incarnated as a man on a planet which, in the contactee's language, is called Disaru.
Igor: Ah! That's also us, Earthlings.
Irina (Spirit of Chekhov): Yes, it's where Saint-Germain lives now.
Igor: And what did you do there?
Irina: He shows that Saint-Germain was incarnated there at that time. And Anton Pavlovich was incarnated there.
(Spirit of Chekhov) I was incarnated there as a man who was engaged in a science that you call art history, or, in your terms, the Science of Imagery. In the contactee's language, it's called the "Science of Imagery." I studied various literary, mythological, artistic, architectural, and other historical artifacts. And I studied the impact on people's consciousness with their help. Yes, in fact, people on Disaru live just like us (he shows that he includes himself in the "us" because his last incarnation was on Earth).
Igor: And with what purpose, with what spiritual tasks did you incarnate on Earth?
Irina (Spirit of Chekhov): My spiritual task was to further increase my spiritual level by developing unconditional Love, harmony, and peacemaking in myself.
Igor: So, did you manage to solve these tasks? What level did you leave at?
Irina (Spirit of Chekhov): Yes, I succeeded, I left at the 21st level.
Igor: Wow! Let's congratulate Anton Pavlovich! Not everyone manages to live their life so qualitatively. It's nice, generally nice, of course.
Irina: He says he is very happy and feels your emotions, that you congratulate him and send him the Light of Love and joy.
Igor: Honestly, I don't think anyone doubted that you are an Angel, Anton Pavlovich.
Irina: 21st level.
Now he asks me to clarify a little, if anyone doesn't know. Again, according to the Interstellar Union scale, the 21st level is already the level of Guide Angels. That is, if the task of a Guardian Angel is to guard (if it's a non-incarnated Spirit) some incarnated Spirit from various mistakes and attacks from various evil Spirits, evil entities, then the task of a Guide Angel is to meet Spirits who have left incarnation, escort them back to the Spiritual world. And also to escort Spirits into incarnations and help them connect with the body.
This is a very responsible task. And in fact, we are all familiar with Guide Spirits: they helped us incarnate into our bodies, and they will also meet us after incarnation.
Igor: So you're busy there now? You work — you're not resting.
Irina: "We are all busy there," he says.
Igor: Wait, but can you go on vacation? Or do you not have such a desire — to rest, to delve into yourself?
Irina (Spirit of Chekhov): Only the body gets tired, Igor. You know that the Spirit can never get tired.
Igor: I was just joking a little. Thank you very much!
15:04 The Spirit of Chekhov about his father.
Igor: Allow us to move on to the block of questions related to your family and childhood.
Irina (Spirit of Chekhov): Okay.
Igor: Of course, we cannot ignore the figure of your father. You wrote that "in childhood I had no childhood," referring to the rather harsh orders established in the family by your father. You confessed to Nemirovich-Danchenko that you never could forgive your father for flogging you in childhood.
My question is this. When you were incarnating and, together with the Angel Consultants, determined the main circumstances of your life, you, as I understand it, also made a choice regarding your parents. In other words, you understood, so to speak, the main qualities and properties of your father and the circumstances that would accompany you in life. I want to know what qualities, necessary for your life's task, were supposed to develop in little Anton under such pressure?
Irina (Spirit of Chekhov): Perseverance, the ability to always find one's own path despite the resistance of the environment, patience, and the ability to forgive.
Igor: Tell me, please, did you eventually forgive your father?
Irina (Spirit of Chekhov): Yes.
You reminded me now of one of my numerous letters: I corresponded a lot with different people, a lot, I had a whole library of letters. I hope that my followers have collected a library from these letters.
Igor: That's right — the complete works.
Irina (Spirit of Chekhov): I, of course, doubt that they found everything, but I know that I corresponded a lot. I really loved communication — both oral and written, loved receiving letters, reading them, and I also loved writing myself. And I was quite frank in my letters. I did this not to show myself off, but to better understand myself.
And that letter you quoted reminded me of the state I had at that time regarding resentment towards my father. I want to say that indeed, at the moment I wrote that, I experienced bewilderment, resentment, non-acceptance. I had many questions for my father regarding my childhood — not only in relation to the treatment of me, but also the treatment of my mother and my brothers and sister.
Nevertheless, at that moment I still did not fully understand and accept my father, his role in my life, and therefore could not fully accept and activate my male part, the part that entered me along with the genes, along with the blood of my father.
But already after that letter, when I myself had lived through many things and learned many feelings, I naturally forgave him. Why did I forgive him? Because I understood that when he punished me, when he forced me to work by force, as I then thought, in his shop (I didn't even call it ours), I forgot that I also lived off that shop at that time, when I was offended.
And then, when I gained the experience of my own life, my own self-support, I understood him and was so grateful to him that he behaved exactly like that. I understood that he did it all out of Love, only in the understanding that he had. He could not have had any other Love, any other understanding at that time. Why couldn't he? Because he prepared himself through his entire chain of incarnations, including the current one, precisely for this state of the Heart. So there was nothing to be offended about.
Igor: You say you understood and forgave him. At what point in your life did this happen? Or was it a gradual process, and it's impossible to pinpoint?
Irina (Spirit of Chekhov): It was a gradual process, but by the time of my departure from incarnation, I had already forgiven him.
Igor: I understand, thank you very much.
20:57 The Spirit of Chekhov about his ancestral tasks.
Igor: Do I understand correctly that with the Spirits incarnated in your brothers, there was also a preliminary agreement in the Spiritual World that you would be incarnated in the same family?
Irina (Spirit of Chekhov): We could say we knew about each other.
Igor: Knew. Were there some common tasks you were supposed to go through?
Irina (Spirit of Chekhov): Common tasks related only to the tasks of the clan.
Igor: Can they be defined somehow?
Irina: What were the tasks of the clan? Yes, I understand. He shows art.
(Spirit of Chekhov) Creating the energy of creativity in our clan's egregore, in our family, so that subsequent generations of our clan would receive a large charge of art (shows that not only he was engaged in literature, but also the other children, his brothers, were also engaged in art).
Igor: Yes, yes, both artists and writers. And have you met with them there, in the Spiritual World?
Irina (Spirit of Chekhov): Only with Nikolai.
Igor: Only with Nikolai. That's the one who was an artist, correct?
Irina (Spirit of Chekhov): Yes.
Igor: Do I understand correctly that you had the closest relationship with Nikolai?
Irina (Spirit of Chekhov): Correct. At that time, we had a fairly close relationship. It was with his Spirit that we had met in several previous incarnations.
22:29 The Spirit of Chekhov about previous incarnations with his brother Nikolai.
Irina (Spirit of Chekhov): I have lived a total of 336 incarnations. That's an average number, I'll tell you — sometimes less, sometimes more. That's how many there are in this manvantara, in this epoch.
As I already said, the previous one was on Disaru. And before Disaru, I was incarnated on Earth, but not as famous people. I'll name the countries. I was incarnated in the territory of Thailand, in one of the tribes (shows 11th century, incarnation in the territory of Thailand, it was one of the tribes).
(Spirit of Chekhov) I was incarnated there as a man who was engaged in healing, curing people through herbs, through incantations (something like a shaman).
(Spirit of Chekhov) And earlier I was incarnated in the territory of Ancient Egypt (shows that this was before the birth of Christ). Yes, 3000 years before the birth of Christ, I was incarnated in the territory of Ancient Egypt as a woman who was a priestess of the Moon Goddess (shows her in a temple).
(Spirit of Chekhov) Two incarnations — in Egypt and in the incarnation that came after (it was on a planet not in the Milky Way galaxy, you don't know it, the contactee doesn't know it, but it was a physical planet). In these two incarnations, I met with the Spirit of Nikolai, and we interacted closely there.
Igor: And relatives recalled that on the eve of his death, you woke up in a cold sweat and told a dream in which Nikolai approached your bed, kissed you on the head and said: "You sleep, and it's time for me. We won't see each other again." And that day news came that he had died.
Irina (Spirit of Chekhov): It wasn't a dream, it was contact with his Spirit, with what you now call the "Higher Self," with his non-incarnated part of the Spirit.
Igor: But at that moment you didn't think in such categories?
Irina: He says he understood this now.
Igor: Understood now.
Irina: Not right now, but after leaving the body.
25:07 Perception of events of incarnations by the Spirit after discarnation.
Irina (Spirit of Chekhov): The fact is that after leaving incarnation, after 40 days, the connection of the personality, the connection of the Soul with the Spirit, with the non-incarnated part of the Spirit, occurs. This gives a huge expansion of one's own experience, and it gives a revision of all one's beliefs, a revision of all memory, an analysis of the whole life. And after this, the Spirit becomes whole again, becomes what it was. It feels the way it felt before the separation of the Soul for incarnation.
And this personality, it recedes into the background, because the Spirit acquires the memory of all its incarnations. And the personality of the Spirit is something completely different for you, for your personalities: it is much more expansive, much larger, much richer. Therefore, of course, I can now give answers to all questions only in the key of my own personal experience gained after discarnation.
Igor: But we appreciate that. That is our main goal — to learn your opinion.
Irina: Yes, at that time, when he had that dream, he, of course, did not perceive it that way. He didn't know such categories, didn't express himself that way. They came to him after discarnation, that's natural.
27:05 The Spirit of Chekhov about his prophetic gift.
Igor: In general, relatives say that you literally prophesied in your sleep, that is, you muttered something. At first they laughed, then they wrote it down, and over time it turned out that these strange, sometimes incoherent words actually turned out to be literally prophetic. There are examples, like how in a dream you talked about the upcoming meeting with Maxim Gorky, which took place only several years later. Or, for example, you described Olga Knipper, your bride, whom you didn't know at that time. Or there was such a remark: "The child, the child will be dead." As we know, later, in 1902, a miscarriage occurred.
Irina: He shows that he also felt his own death, the death of the physical body, his departure from incarnation — when and how it would be. And many other things too: events of his life, including those related to books, the reaction of readers, meetings with friends. There were many predictions.
(Spirit of Chekhov) But in fact, I don't see anything strange in this. Do you want to ask a question, for what reason did this happen?
Igor: Yes, what mechanism was at work?
Irina (Spirit of Chekhov): I understood the question.
Dear friends, there is absolutely nothing surprising in this. Each of you, I think, has seen prophetic dreams, felt something. What you call intuition, everyone has it. Simply due to the contact with my Spirit, with the Higher Self, which I developed from childhood with the help of my curators, mentors, who worked with me in sleep and in reality, I had an acute sense of intuition — what is now called the gift of a medium.
I had it from childhood, from childhood I could perceive information from the subtle planes. Yes, when I was a child and when I was a teenager, I felt it more acutely. And when I became an adult, at times a wave of skepticism would sweep over me and carry me away from this sensing, but then some prophetic dream, some sign of fate, some meeting, book, conversation would return me again to the path of spiritual service.
Igor: Thank you.
Irina (Spirit of Chekhov): And there is nothing surprising in this, because each of you can feel exactly the same, and even more accurately. You ask: "Why?" A very simple answer.
Each of you is not just a body. Remember this. The body is the most material, the most dense, the most coarse, substantial part of you. But besides the body, you also have a spiritual part. This spiritual part is an integral part of the Source of the entire Universe. It has Omniscience, has Omnipotence, has Omnipresence, has All-Love. This is in each of you. No matter how deeply you have buried the Light of the Creator of the Universe in yourself, it is impossible to destroy it, just as it is impossible to extinguish the Sun by closing the curtains on the window.
Igor: Thank you, excellent answer.
31:14 The Spirit of Chekhov about the exorcism ritual in childhood.
Igor: Anton Pavlovich, I dug up a curious episode from your childhood. Now it seems curious, anecdotal, perhaps, but then it might not have been so fun for you at all. In a word, there is information that your father ordered an exorcism ritual for you in church, seriously believing that a demon had possessed you. Do you remember this episode?
Irina (Spirit of Chekhov): Yes, there was such a thing. He was a believer, an Orthodox Christian. In fact, as I later realized, he also wanted only good for me, because he was really scared for me, as an incident occurred that he could not explain. It was an incident that happened to me that he could not explain otherwise from the point of view of his knowledge and ideas about the world. Such were his beliefs.
Before telling this incident, I urge you never to judge another for their beliefs, even if they seem wrong to you. By judging another, you immediately rise to their level, to their level of awareness. And by doing so, you help neither him nor yourself (this is already from the point of view of a 21st-level Angel).
But then, of course, I didn't think that way. I was, of course, overwhelmed with emotions. I want to say that when you are in a body, emotions are felt differently. They are brighter, more powerful, they can drown out reason, they can drown out the voice of the Spirit, of intuition. To drown out means to fill the entire Soul with oneself, and at that moment a person has nothing left but emotions.
Because you have a body that reacts to your emotions with a release of bodily fluids, which are now called hormones. And from this there is an influence through the brain on the Soul, on that spiritual part which is connected to the body through your etheric structures. And because of this, it is very difficult for you, not only for you specifically, but for any beings incarnated in physical bodies, to move towards spiritual development, because it's easy to get sidetracked. But that's precisely what makes incarnation valuable, that by overcoming these difficulties, if you, despite the obstacles, these emotions and hormones, still try to go towards the Light, then the body ultimately helps you even more in this.
So, why did he want to do an exorcism session? The fact is, he owned a small shop (shows), was the owner of a small store that sold tea, coffee, sugar, sweets. It was called a "lavka." Essentially, it was a small shop, and his father was its owner and was very proud of this. Why was he proud? Because his origin was from serf peasants. Naturally, if they were once owned. It so happened that he was bought out of slavery, because serf peasants were equated to slaves, they couldn't go anywhere themselves. They could be used as labor force, like, for example, horses.
Accordingly, having emerged from this state and having acquired the opportunity to have some property of his own, he valued it very much. You can probably understand him. Very human, that if I didn't have it, and now I do, then I'm afraid to lose it. And in him this fear was present, a very strong fear was present. Unfortunately, because of it, he left at the 6th level. I also descended to him after my discarnation and talked with him.
There was a very great fear, which already generated anger. And because of this fear, he often couldn't even (shows) leave the shop closed for the night, so that no one would guard it. It always seemed to him that someone would rob it. He had fears. And who could guard? He could only send us, his sons. And with these fears, he indeed attracted this incident to himself (shows himself as a teenager).
I was about 15, that is, such a teenager. My older and younger brothers were not with me, I was alone in this shop. Suddenly a robber burst in (shows how the door is pushed open, a robber enters: the father attracted this crime with his fears).
Why did he attract? There is a law in the Universe: what you fear, you move towards; what you fear, you order. That's how the Universe reads your emotions, and your fears are read as desire, you understand? But he didn't understand this. So think about your fears.
And so it happened that I was left alone: an unarmed boy with an adult man, who was quite tall, heavily built, and with a knife in his hands. What would you do in my place? Run away? But I couldn't run away, because I knew that if I abandoned the shop, I would be severely flogged, so that I wouldn't be able to sit on the natural seat for a week. I was flogged with rods, and they soaked them in salt water. Then they would put me on my knees on coarse salt in front of the icons. It was very painful. And they said that this would help me appreciate what they were doing and obey them (my mother supported my father in this).
I knew very well that running away was impossible. It was better not to come home then, better to let them kill me. And at that moment, I mentally prayed: "Christ, protect me!" I want to say right away that I very often turned to God, turned to the Angels, prayed, I sang in the church, I knew prayers. And I prayed: "Christ, protect me!" To myself. And a thought came to me: "Gather all your strength" (shows images of how it all happened there).
An inner voice told me: "Gather all your strength, grip tightly the hand holding the knife, don't let it go, and kick him with your legs below the knee. With all your might, kick!" "Boy, just don't let go of the hand!" – such a thought came to me.
I did just that. He roared like a wounded ox, it hurt him so much that he stumbled and fell. I took the knife from him, because it fell out when he fell. I sat on top of him and quickly tied his hands with a rope that was lying on one of the boxes. He could do nothing. And after that I ran out into the street and called people. People gathered, seized him, took him to the police station.
I told my father everything, and the people confirmed it. I thought he would praise me now, that he would say: "Well done, you defended our property! Here's a gingerbread for you." Yes, I was cruelly mistaken in my own father then! It was very painful, but he did not appreciate my feat, the risk I had exposed my life to. He said: "You couldn't have done this yourself. Who helped you? Confess!" I said that I prayed to Christ and heard an inner voice. I told him everything as it was. He got scared and said: "That voice did not belong to Christ, because we are unworthy for Christ to speak with us. And even if Christ had told you, He would never have told you to hit a person. That means it was the one who pretended to be Him" (shows a picture of him standing before his father, head bowed, and his father reprimanding him for this matter).
"That means it could be the one who pretended to be Him." And who can pretend to be Christ and lie, calling Himself by His name, impersonating Him? You can guess for yourselves who is the father of lies? We knew the Bible perfectly, knew many chapters by heart. The father of lies is the devil.
And he took me to the priest, and explained everything to him. The priest talked with me (shows). He talked to me so gently, asked what it was, what I felt, what that voice was like, was I afraid or not. He asked many questions. I told him everything, and he hugged me, stroked my head and said: "The Holy Spirit helped you, Christ himself helped you. It was He who called an Angel for protection. Forgive your father, he does not know what he does, he is in ignorance." I started crying, he pressed me to him and said: "Christ is always with you, and you will go far in the future."
Then he talked with my father. I was in the next room of that priest's house, and only snatches of words reached me, what he was saying — that "there is no demon in him, and be gentler with him." How he reprimanded him. And my father listened to the priest: he was afraid of angering God, of sinning, and for a short time after that, he treated me a little better.
Igor: Thank you very much.
44:55 The Spirit of Chekhov about his faith in God and the church.
Igor: Tell me, please, subsequently, as far as I understand, at least outwardly, you avoided such religiosity, didn't go to church. In general, how did your relationship with the church develop? Did you believe? Did you preserve that faith in God?
Irina (Spirit of Chekhov): You see, Igor, I was just a little overfed with religion. Very harshly and sometimes rudely, and they forced me to go to church very much, insisted very much on observing all the rules, including fasts. We had to walk in line during Lent, under no circumstances laugh, read numerous prayers for many hours. For children, this is very difficult. And I began to perceive that the word "God" is connected with the church, which oppressed me with these rules from childhood.
I didn't understand then that it was my parents who overdid it a bit. Not even a bit. But in God as the source of the Universe, as the One who created everything, I always believed inside myself. Yes, I had periods, of course (you'll say now), when I wrote to someone, for example: "There is no God." Yes, I don't deny those letters, but inside myself I always believed. Sometimes there were doubts. But after all, admit it, dear friends, doubts can arise even in a strongly believing person at one period or another of their life.
Igor: Thank you.
46:55 The Spirit of Chekhov about the scar on his forehead under his hair.
Igor: In the passport issued to you in 1879, in the "Special features" section, it stated: "On the forehead under the hair, a scar." Question: what was the scar? Where did it come from?
Irina: Shows that it was exactly from his father hitting him in childhood, when he was beating him. He could.
He cannot specify at which exact moment, because there were many such episodes. His father could hit, and throw objects when angry, and shows that this was from early childhood.
Igor: I understand, thank you.
47:45 The Spirit of Chekhov about the importance of freedom of expression for children.
Igor: It is known that you repeated two years at the gymnasium: in the third and fifth grades. What was the reason?
Irina (Spirit of Chekhov): The work in that shop, it sometimes took more time than studying, because my father demanded that we trade there, clean up. Even getting up early in the morning, before school, and standing by the doors and calling out to customers. If there were no customers, he could punish us in the way I described.
Igor: I understand.
Irina (Spirit of Chekhov): Yes, sometimes it was very difficult to combine this, because a child cannot always orient themselves and understand how to act correctly. Especially when adults are putting pressure from above. Therefore, I ask you, if you have children, please give them freedom, freedom of expression. Despite their responsibilities, be sure to give them freedom of creativity, freedom to express their opinions, even if it doesn't agree with yours. This is very important for the formation of their personality and for their future adult independent life.
Igor: Thank you very much, we'll try to listen.
49:06 The Spirit of Chekhov about the beginning of his writing career.
Igor: Let's move on to questions related to your literary activity. In a letter to your sister Maria Pavlovna, you wrote: "How good it is that no one knows how I began to write." This, as I understand it, is about the period from 16 to 18 years old, when you actually lived in Taganrog alone, without your family, right?
Irina (Spirit of Chekhov): I began earlier, when my father was still there (shows that he wrote some little stories, histories, just in a personal diary).
What does it mean, it was difficult for me? You see, the point is: when a person, any person, starts a new business, it will be difficult for them. It was difficult for me to express my thought, it was difficult for me to continue a story. But why did I strive for this? Because my Spirit, my Higher Self, my intuition always sent me thoughts to express my experience, my impressions on paper for other people. This was from childhood (shows).
Perhaps you had such a desire to create, to create specifically, I can say, with the pen, and now probably already with a pen or even a computer mouse? Nevertheless, the essence is the same — to create something with words. It's like an artist paints a picture with a brush. If there are artists among you, you perfectly understand what I'm talking about. Remember how you painted your first picture? Or the second? And then the twentieth? If you do this systematically. But if you didn't — fine, remember a more mundane activity, it also requires skill and ability.
For instance, the girls present here now. Remember yourself as a little girl and your first potato you peeled. Was it easy for you? And then, after 5 years, after 10, or now — the same? It's clear that writing is a somewhat different skill, but getting used to it and embedding this habit in your brain needs to be done just the same.
Even Irina — the contactee (I'm reading her information now), she didn't always contact various personalities, as she does now. She also had her own difficulties, which she went through: transmitting information more slowly, translating less accurately. She also had this. All contactees go through this.
This is a natural stage in the formation of specialists in some field. While you don't know how, it will be difficult for you, and you will make mistakes. This needs to be understood, because there is no other way.
Igor: Thank you.
Another thing, during your lifetime, you were pestered with these questions about your first publication. You always shrouded this question in mystery. But, nevertheless, your researchers, of course, are now trying to reconstruct and collect bit by bit some first little poems or some scenes, humoresques, which you published in the first, so to speak, years of your literary activity.
As I understand it, you don't welcome this research zeal? They say that, at the very least, we have lost a whole volume of these early works of yours.
Irina (Spirit of Chekhov): I understand what you're asking about. The fact is that my first sketches, they were not published anywhere at all (shows that it was just for myself).
Do you know the word "family newspaper"?
Igor: Yes.
Irina (Spirit of Chekhov): That's such a thing. We had many children, and we kept a certain (like a wall newspaper at school shows).
It didn't hang on the wall, but there was a kind of magazine that we compiled every week (shows that it was for our parents).
There, someone drew something, someone composed some little poem, someone wrote some note. And I wrote short stories about our family, from our family life, some even like anecdotes, sort of — very funny ones. I really loved humor.
Igor: Well, we know that.
Irina (Spirit of Chekhov): Many perceive me as such a sad, melancholic person. In fact — no, I was quite a cheerful, lively person (shows).
Igor: Officially, it's believed that your first publication was "Letter to a Learned Neighbor" in the "Petersburg Dragonfly" in March 1880.
Irina: He says that before that there was one, "don't know if it survived or not." Shows some drawing and a short story called "The Bell."
Igor: "The Bell"?
Irina: Is that a story or a magazine?
(Spirit of Chekhov) No, it's a story. It was about a bell-ringer in a belfry: how he climbed up there, rang the bells, what he felt. That kind of story.
Igor: And was it published under a pseudonym?
Irina: Yes, some Che.
Igor: Just Che?
Irina (Spirit of Chekhov): Yes, because at first I was shy to sign my name. I didn't want wide fame, so to speak.
Igor: And in which magazine or newspaper was "The Bell" published?
Irina: In some small newspaper. Let me see. What was it called? Something local — "Taganrog Gazette."
Igor: Ah, in Taganrog.
Irina: Yes, some local newspaper, it was published in a very small print run.
Igor: And did you receive a fee for this publication?
Irina (Spirit of Chekhov): Not me, my parents.
Igor: Parents?
Irina (Spirit of Chekhov): Yes, parents, they sent it off, I didn't even send it.
By the way, I read my works to my mother, and to my father. Father often treated it as a pastime, but my mother supported me a lot, and she sent it off (shows).
Igor: I understand.
56:16 The Spirit of Chekhov about his pseudonyms.
Igor: Listen, this story with your pseudonyms, of which researchers have counted a total of about 50 or even more. What was the reason for your attempt to disguise yourself?
Irina (Spirit of Chekhov): Actually, I think there were more.
Igor: And how many pseudonyms did you have?
Irina: Shows about 100. At least, I see such a number — 100. Now he's going through a list, in some cases he could have signed with just a letter.
Igor: Or even just a hard sign.
Irina: Then some name like Alter, some Allegory, some Doctor without patients.
Igor: Well yes, we know — The Man Without a Spleen, Brother of his Brother.
Irina: Yes, they were very funny, he had. He also signed with humor.
Igor: So, why didn't you choose one pseudonym, if you didn't want, so to speak, to publicize your own name?
Irina (Spirit of Chekhov): Because I wanted people to laugh, to have fun when they saw who wrote it, to cheer them up.
Igor: Understood. And why didn't you sign with your own name for a long time?
Irina (Spirit of Chekhov): Firstly, I didn't want those who read me (shows students) to know it was me. Because at first, I generally hid that I had written it, among the wider public, friends knew. And secondly, it was my kind of social life. I kept the name, as it were, for my personal life, I separated these.
Igor: There's a version that you planned to write scientific works on medicine under this name.
Irina (Spirit of Chekhov): I didn't think then that precisely under this name I would write works on medicine, that's why I didn't sign. I wasn't ashamed of my work, I just had a certain understanding that these were like social pseudonyms, and this was my personal name.
Igor: I understand. And in the end, if I understand correctly, you first signed with your own name under the story "The Requiem" in "New Time," and it was an insistent wish of the editorial board: they sent you a telegram with the request.
Irina (Spirit of Chekhov): I also signed under several other stories, not only under these, and under collections. I also signed this one. The dates are there. Now it's all in the past for me. So I can say in general that I signed not because they insisted there. Yes, they persuaded me, but actually I decided so myself.
Igor: There's a legend that Suvorin promised to pay you one and a half times more per line if you signed with your own name.
Irina (Spirit of Chekhov): That didn't influence me at all, it was just one of the opinions. I decided that way because I realized it was time to go out to the wider public, I decided myself (shows).
And so that they would know that I was the one writing these things. You could put it this way: I took responsibility as a personality for their content.
Igor: I understand.
1:00:00 The Spirit of Chekhov about his income.
Igor: Do I understand correctly that the fees from these publications made up a significant part of your income?
Irina (Spirit of Chekhov): A significant part, but not the main one, because despite my literary activity, I still continued to work as a doctor. After all, I trained as a doctor (shows that he graduated from an educational institution).
Igor: Could one assume that if you had possessed material wealth, you wouldn't have developed your literary abilities so intensively?
Irina: Laughs and says: "Well, you won't be able to write just for money. Anyway, if you don't burn with your Soul and don't want to convey your joy, your Light, your experience to people, it won't work. You'll just get some kind of nonsense."
(Spirit of Chekhov) I wrote for the Soul, for pleasure. Yes, there was money, of course, I didn't refuse it, I loved it — that's quite natural for a person. But you can't say that I did it just for money, and that if I had had a larger income, I wouldn't have written (disagrees).
If I had spent as much time on medicine and its study as on writing these stories, plays, and so on, and not only physical energy but also mental energy, which is important, then my earnings in the field of medicine would have been much higher. Because at that time, doctors were highly valued, there were many sick people, and the Emperor himself appointed them high salaries.
If I had directed all that energy there, I would have earned well (thinks that he would have earned even more).
1:02:15 The Spirit of Chekhov about possible fields of activity.
Igor: Could one assume that you would have achieved the same heights in medicine if you had directed all your energy there?
Irina (Spirit of Chekhov): Yes.
Igor: Become a brilliant doctor?
Irina (Spirit of Chekhov): I would first treat sick people. By the way, I was already in charge of a hospital. Yes, I would have become the head, if I had gone up the career ladder. I could have done that, as I was generally a leader by nature, by my character. I could have gone further up the career ladder — to be in charge of, for example, an entire region, managing all local medical stations.
Then I could have gone into scientific activity (I had such a dream). Into teaching activity, working at an institute and teaching other doctors. And all this was very well paid.
Igor: Do you think you were a good doctor?
Irina (Spirit of Chekhov): I never got to be treated by myself.
Igor: But colleagues say you were a brilliant diagnostician and very attentive, kind to patients, and, which was unusual at the time, you paid great attention to the psychological state of the sick.
Irina (Spirit of Chekhov): For me, it was normal. Why was it unusual for them? Naturally, I asked a person about their emotional upheavals, about their problems, because I already believed then that any feeling affects some physical function of an organ. And I showed great interest in mental illnesses. I even had the thought of going into psychiatry, becoming a psychiatrist, helping people considered mad return to our earthly world (studied this topic).
Igor: Partly this resulted in a work called "Ward No. 6."
Irina (Spirit of Chekhov): Not only. I tried to put knowledge into every one of my works, including those related to medicine — both about medicine and psychology.
1:04:33 The Spirit of Chekhov about his literary work.
Igor: Can you name, for example, three books that had the most significant influence on the formation of your literary taste?
Irina (Spirit of Chekhov): When I described the steppe (shows) [the eponymous novella "The Steppe"], it was my experience describing nature, then writing again "The Seagull" (shows, a major play that needed to be developed: the main characters, their characters, how they interact with each other, and so on). Such socially significant stories as, for example, "Kashtanka," stories about poor people who found themselves in different circumstances.
I was also very influenced by the book about Sakhalin (shows that he wrote about Sakhalin Island). The description of that island, what happened there, the description of the people who lived there, including those working in penal servitude, their social situation (shows). Described them also from a medical point of view: what illnesses they had, what the state of medicine was on the island. This made a very great impression on me.
But every, even small, work, in any case, was written and taken from the depths of my Heart. Of course, I have very many works (shows more than 500), a large such number. And in each of them I described certain situations with people that I observed myself, some observations from life, but already reinterpreted through my own experience. For example, I saw something — and wrote some small story. I could give it any title.
For example, I heard some story (if we are talking about the theme of this evening, and today's theme with us is summoning spirits, so-called spiritualism). It was fashionable in my time too, I, of course, heard about it and even attended several sessions, my friends invited me. But I want to tell you right away that I didn't particularly delve into it then and didn't particularly believe in it because of my natural skepticism, critical mind. Nevertheless, I was interested in studying this phenomenon, which you now call esotericism. Then it was simply called various secret knowledge, occultism, for example, spiritualism. And about this too, I have a story — "A Terrible Night." It's just about the consequences of a spiritualistic séance. Perhaps you've read it, or you can read it, but it's about not very good consequences, so to speak. But in the end, everything ends funny.
1:08:29 The Spirit of Chekhov about favorite writers and literary forms.
Igor: Can you name your favorite writers? For example, three favorites.
Irina (Spirit of Chekhov): Tolstoy.
Igor: Okay.
Irina: Shows Dostoevsky.
Igor: Okay.
Irina: Pushkin.
Igor: Pushkin. Did you meet Tolstoy?
Irina (Spirit of Chekhov): Yes, but we communicated with many there. In fact, I met with many writers and poets, and with artists. I had exactly that kind of social circle.
Igor: I wanted to clarify about Tolstoy, who didn't think highly of Shakespeare as a playwright either, and criticized you for writing even weaker than Shakespeare.
Irina (Spirit of Chekhov): He rated some of my stories quite highly, for example, the same "Kashtanka." He was talking about those that seemed too short and lacking in content to him, because precisely Tolstoy, he liked to describe everything in more detail and expand the plot of his work, to make it brighter, and so that it could be studied from different sides. And I had these short things, which seemed to him like unfinished.
Igor: I understand.
Irina (Spirit of Chekhov): He said that from this story, for example, one could have written a whole novel, and "you ended it at the most interesting part."
Igor: For a while, you told your friends, wrote in letters, that you wanted to write a big novel, but somehow it didn't happen in your life. Why?
Irina (Spirit of Chekhov): I tried, but I never found a title for it. I wrote several chapters there, then realized that each of these chapters could be a separate story, and it somehow didn't come together into a large work for me. Also because I needed to give it a title reflecting all its features, and I didn't have exactly that kind of thinking experience — synthesis, with which I could gather a single idea in different chapters. Because of this, I didn't write a novel.
Igor: I understand.
1:10:57 The Spirit of Chekhov about creativity in dramaturgy.
Igor: Let's move on to your theatrical activity, a few questions on this topic.
How did you come up with the idea, I want to understand, to make, if you will, a revolution in dramaturgy? Because you yourself wrote to Suvorin when working on "The Seagull," that you were terribly lying against the conditions of the stage, but it really was just some kind of upheaval — nothing like that had been done before you, it seems to me. I mean those theatrical dramaturgical principles that you introduced.
I mean, say, such outwardly meaningless dialogues, while passions seethe inside the characters. Or your, apparently, conscious exclusion of the most effective scenes — you take them offstage. The same Kostya's suicide, for example, and many others. It would seem that any playwright would hasten to bring all these effective scenes onto the stage, as some others do. I'm leading to this: how did you come up with this?
Irina (Spirit of Chekhov): Good question.
Igor: How was this vision of a new theater formed?
Irina (Spirit of Chekhov): You asked such an interesting question (smiles), which now, before answering it, I need to understand. You understand that every artist creates in their own way?
Igor: I understand.
Irina (Spirit of Chekhov): You ask, how did this come to my mind? A good question. How or where from?
Igor: Okay, where from?
Irina (Spirit of Chekhov): Because these are two different questions. One question is how? And the other question is where from?
Where from — I already said that in my previous life I was a representative of the planet Disaru, who was just studying the features of forming images for creating beliefs and developing feelings in children and adults. Therefore, I, albeit unconsciously, used my experience on Disaru to create especially my dramatic works. You mean plays now?
Igor: Yes.
Irina (Spirit of Chekhov): Works that can be performed on stage, in a certain place. And all these thoughts: how to construct this play, what acts there should be, what characters should be. Even what they should be wearing, what phrases they should say, right down to, as you called them, interjections, and all actions on stage and behind the scenes. Right down to what was on the table, that is, the setting — they came to me in the process of creative inspiration.
How? From the Higher Self, which possessed information from my past life, but plus my curators also gave me hints.
My curator was Saint-Germain. My curator was Jesus Christ. And my curator was Archangel Raphael.
Igor: Excellent curators.
Irina (Spirit of Chekhov): They curated spiritually: Archangel Raphael from the Spiritual World, Jesus Christ, we know, lives on Burhad, but with His Christ-consciousness, that is, with the spiritual part, I communicated. And Saint-Germain also, at that time, lived on Disaru, because he is many years old, he has lived there for a long time. At the time when I lived on Earth, he was also incarnated there. They gave me many hints, I felt it simply as a flow of thoughts without determining the address, that is, without determining who said it.
A thought came, I think: "How cool, what an idea! I need to develop it." And I already began myself, with my imagination (every person has imagination, fantasy), to twist and develop this thought in various ways: "What if it's like this, what if it's like that?" It cannot be said that I wrote it entirely under the dictation of curators — there was also my own creativity, but they gave me many hints. And I developed their hints, their ideas, and embodied them already in my own language, with my own beliefs, and so on. That is, it was such a joint creative process. To make you feel how and where I took these images and why I arranged them like that, as no one before me, it's easier for me to answer: yes, because I am unique!
1:16:52 The Spirit of Chekhov about the uniqueness of every personality.
Irina (Spirit of Chekhov): I am unique. But when I say that I am unique, I, firstly, tell the truth, and, secondly, remind you that you are also unique. And each of you can achieve a lot if you want. I desired to develop this, and as I already explained my difficulties in the beginning, they were on this creative path. And so each of you can develop in this direction. But to answer Igor's question, the host — how? — you need to try it yourself.
Start small, as I started in childhood — just write notes in your personal diary. Ask yourself: "What to write?" Just about what you see, about what you feel. You don't need to invent some incredible worlds. Write about yourself, about the cup of coffee you drank. About the autumn leaf you saw, which fell to the ground and reminded you that the whole world is perishable. About the simplest things. Do this every day. Let you write only a few lines, but every day. And then after a month, reread what you wrote. And you will already know how you used your imagination, how you used your creative inspiration.
All people have talents in something, but in many they lie dormant, simply because they don't believe in themselves. If you love yourself, and believe in yourself, and go towards your goal, despite any obstacles, you will achieve more than you dream of.
Igor: Thank you very much.
1:19:19 The Spirit of Chekhov about art.
Igor: We continue the theatrical theme. Can you determine whose merits are greater in the formation of the new aesthetics of the Moscow Art Theater — Stanislavsky's or Nemirovich's?
Irina (Spirit of Chekhov): I don't weigh it on scales like that. That's not my task. In general, I want to say now that I am one of the patrons of the egregor of art on Earth. There is an egregore, that is, a collection of energies of art not only in Russia, but on the whole Earth, and I am one of its Guardians.
In addition to my work as a Guide Angel, I also do work in the egregore. And it is not determined there whose contribution is greater and whose contribution is smaller. Each contribution is unique, each contribution helps other Souls to follow the same path. Every "widow's mite" has priceless energy. It is impossible to evaluate — more or less, it's not a material good, it's not a material object that we can weigh on scales: here Stanislavsky or someone else invested 1 kilogram of gold in theatrical art, and his colleague invested 2 kilograms. No, it's impossible to weigh this. Each invested as much as they could, as much as they were able, as much as God allowed them, as much as the Higher Self allowed. And I look at this process not from the point of view of competition, but from the point of view of Love, and I thank everyone who did it.
Igor: Thank you.
1:21:18 The Spirit of Chekhov about contacts with Earthlings.
Igor: Do you have contactees on Earth?
Irina (Spirit of Chekhov): Yes, as an Angel. True, my spiritual name is different, not Anton.
Igor: And can you reveal the secret, what is it?
Irina (Spirit of Chekhov): Angstrom.
Igor: Angstrom. That's if anyone wants to get in touch with you.
Irina: I understood it's Ang-strom, Angstrom.
Igor: Angstrom. Tell us, how to get in touch with you?
Irina (Spirit of Chekhov): That's my spiritual name. But to get in touch, naturally, you need to go through my incarnations, including the last one, through the last personality — Anton Pavlovich Chekhov. Although I myself no longer consider myself him, still, a part of my energy, which is called the Soul, is in him. Again, for you it was, but for me it is, since I am outside time. And you can address not only Angstrom, but simply wish to make contact with me. You can do this by simply mentally imagining my image or looking at a painting, for example, at such a wonderful one as here.
Please, everyone look now into the eyes of this person. Because to get into contact with me, it's easiest to do it through the eyes: the eyes reflect the Spirit that looks through them. But first you need to turn on your Heart, open it, trust it, trust yourself. Otherwise, you will feel nothing. So, look into the eyes, Igor, look into the eyes. Now I will show on Igor how to get into contact with me.
So, imagine that no one is around — only you and this portrait. And you also imagine. Look straight into the eyes and say, what feelings does the gaze of this person evoke in your Heart?
Igor: A feeling of Love, sternness, and kindness.
Irina (Spirit of Chekhov): Excellent. You felt the energies, then you can feel something of your own, everyone here will feel something different. The main thing is to tune in to the flow of energy coming from the eyes. It's very simple: stop analyzing and start feeling. Excellent, I see that you are already tuning in, and I feel that I am also establishing contact with you.
And now answer yourself the question: do you like, is my energy pleasant to you? Igor, is this energy pleasant to you?
Igor: Yes, very much.
Irina (Spirit of Chekhov): Excellent. For the next stage, you need to distract yourself from the material world — it's best to distract yourself from visual images: close your eyes and remember the face, remember the eyes. If you don't remember, look again.
Remember, imagine, and say: "Anton (call this personality as you like), I greet you!" Mentally say: "I thank you for your incarnation in this body and send you the Light of my Love." What is Light? It is your energy. You must send Light to establish contact. And you need to imagine how a little ray goes from you to me, to my image. Through this image I will communicate with you.
So, what do you feel?
Igor: I feel counter-currents, like rivers.
Irina (Spirit of Chekhov): Yes, you are now feeling the tuning of contact with yourself. I am beginning to tune the contact with your mental field. Consciousness may change a little, you may get a little dizzy — that's normal, that's how the body reacts. Don't be afraid of anything, you are completely safe. Communicating with Spirits is absolutely safe.
(Irina) I'll add now: especially if it's a Spirit from the 21st level. So, go ahead: who felt the counter flow? Yes, I see. That's enough, good.
(Spirit of Chekhov) And further, you need to ask a question. But ask it mentally.
Igor, ask him any question mentally. And the answer will come to you by itself. I'll just send it (shows how), and the answer will come.
Igor: I think I received it.
Irina: Yes, good, now he's just tuning in to everyone. Now I'll wait a bit. How do you like this experiment?
Igor: A wonderful experiment! We couldn't even dream of this: we entered the field, into contact with Anton Pavlovich!
Irina (Spirit of Chekhov): As you see, it's easier than it seems.
Igor: Thank you very much, our dear Anton Pavlovich!
Irina (Spirit of Chekhov): This is my answer to your question, how to establish contact with me. Now I'll just explain.
If you didn't succeed — it's okay, many need solitude and a slightly longer tuning for this. Everyone has their own fields and their own level of sensitivity. Remember how I told you about the potato? Therefore, even if you didn't manage to feel anything: neither an answer nor energy — there's nothing wrong with that. It's absolutely normal. You can repeat this by opening my portrait or taking my photo, when you are alone, after the session. But only if you, of course, have the desire, and the mood, trust in yourself, trust in me. If there is no complete trust, the field will be closed, I won't be able to make contact — I'll send energies, but you won't perceive them.
For contact at the level of energy, for contact at the level of thoughts, as with Irina, as with Igor, and as with those of you who felt my presence, my answers and my energies, openness is very important. Of course, I want to emphasize right away: I sent you an answer — you perceived it and passed it through your brain. That's normal. You received the answer in the most understandable language for yourself, personally for yourself.
(Irina) How did you like the experiment?
Igor: I'm stunned. Thank you very much, Anton Pavlovich!
Irina (Spirit of Chekhov): Yes. Thank you.
1:29:49 Advice from the Spirit of Chekhov to all Earthlings.
Igor: Tell me, please, do you follow the circumstances that are happening at the Moscow Art Theater?
Irina (Spirit of Chekhov): Only through the egregore, and not the circumstances, but so to speak, just the energies.
Igor: The energies. How do you assess the state of energies in our country's main theater?
Irina: Very agitated, shows that there is a lot of fuss.
(Spirit of Chekhov) This, again, compared to my time. A lot of fuss and a lot of different creative ideas, but many of them are not carried through to completion at all (shows how they want to stage something, then — stop, they cancel; they want to stage some things — then they change the program, there are also grievances among themselves and within the collective).
Igor: Do you want to advise something to your, I don't know, colleagues or actors?
Irina (Spirit of Chekhov): Yes, of course.
Igor: Please do so. Specifically to those at the Moscow Art Theater. And do you know, by the way, that we have two MATs?
Irina: Shows that for him it's not two buildings. He is in charge of the egregore of art, and for him it's just energy departments.
(Spirit of Chekhov) I want to say, again, that it makes no difference to me where my, so to speak, colleague works, in which theater. In general, I consider all writers, and doctors, and playwrights, and just good, kind people to be my colleagues. To the actors specifically, what wish do I have: do only as you feel, listen to your Heart.
The same wish will be for everyone. Just each profession, as is known, leaves a certain imprint on a person's character. And professional duties, professional knowledge, of course, you have, you studied for this. But I want to urge you to pay attention to the fact that the main thing is not the roles you play, but the content, the content of your Spiritual heart, which will be important for you after leaving this body, this incarnation.
Whoever you work as, wherever you live, whatever your social, material level, all this, my dear brothers and sisters, are toys that you play with to know God. To know His Love and to develop the likeness of God in yourself, to reveal precisely those talents that I spoke about. If you remember this all your life, and consider the material world a game, do not get attached to it, to its toys, then your spiritual development will go much faster and without any fears.
Igor: Thank you very much.
1:31:32 The Spirit of Chekhov about theaters on Disaru.
Igor: By the way, I wanted to ask: are there theaters on Disaru?
Irina (Spirit of Chekhov): Yes, there are. There are small and large theater groups there, which perform certain literary works and even show productions based on myths, songs, and smaller works, for example, short stories. They can make a performance based on some short story, not necessarily a major play, creating the atmosphere of that story. But this exists on Earth too, actually, there are such groups, especially in childhood.
I wanted to say that in childhood, I not only was friends and played with my brothers, we also had other friends in our childhood. And then we also (shows) read various books from the school curriculum and could play — gather in such a circle (not like at school, but in the yard in the summer). We had a game: one reads for one hero, another reads for another hero and performs certain actions. Such a kind of theatrical production it was.
Igor: I understand. Thank you.
And have you met with the Spirit of Stanislavsky there, in the Spiritual world?
Irina (Spirit of Chekhov): No.
(Irina) I don't hear a positive answer.
Igor: Tell me, please, can you single out one of your plays that is most relevant now for production here on Earth?
Irina (Spirit of Chekhov): I don't think any are irrelevant.
Igor: Excellent answer.
1:35:25 The Spirit of Chekhov about his plays.
Igor: A question that has been debated for 130 years by everyone who picks up your plays, in particular "The Seagull": why is it a comedy? And "The Cherry Orchard" too.
Irina (Spirit of Chekhov): Why is it a comedy? Why did I call it that?
Igor: Why did you define the genre as comedy? What's funny about it? In general, "Three Sisters" is a drama, and that's understandable. But why is "The Seagull" not? A comedy is when it's funny. Why are "The Seagull" and "The Cherry Orchard" defined by you as comedies?
Irina (Spirit of Chekhov): Because the people acting in them, or characters, they overplayed their feelings too much, and it looked funny (shows that it's such humor: he deliberately wrote like that, different words that caused him mockery — not satire, but rather such irony).
Igor: I understand.
Irina: Their words and actions lead to certain consequences.
Igor: Some of your fans have taken to specially calculating the area of the cherry orchard. Can you tell us what size that orchard was when you wrote it?
Irina: There are no such details.
Igor: Let me tell you: your Lopakhin says there that you can get 25 rubles a year per desiatina, and the whole rent is 25,000. That means it's about a thousand desiatinas, which in terms of measures we understand is about one and a half thousand hectares. That's some unimaginable, gigantic area.
Irina (Spirit of Chekhov): It was just an image (shows, it was just a stage image). It wasn't a real orchard, it was a stage image to show, again, the heroes.
(Irina) I want to say, he is telling me now, but I don't quite understand because I haven't read this particular work. Maybe I have read it, but a long time ago.
Accordingly, he is now telling me that there is such a heroine there, who clung to this orchard: clung to it as a treasure, and because of this made many mistakes. Again, because of her fear of losing it, she closed off paths for harmonization, for example, of that situation with her debts, in which she found herself. Accordingly, it all ended with her attracting to herself what she thought about and feared. And here again an unconscious order took place. She still lost that orchard, and it was very dear to her.
Herein was the comedy (shows that it's funny when a person perceives the temporary instead of the eternal, such a philosophical subtext). There was no concretely important area, just an image.
Igor: But does it still matter that it was a large area?
Irina (Spirit of Chekhov): Yes, a large area, but the specific number didn't matter there.
Igor: I understand, okay.
Also, the actors asked to find out: in "Three Sisters," there is a stage direction: "Masha, thinking over a book, softly whistles a song. Olga says to her: 'Don't whistle, Masha, how can you?!'" Question: what song is Masha whistling?
Irina: Shows that it's some Russian folk song, a cheerful one, that they play at weddings. Shows.
Igor: Okay, we'll pass it on.
1:39:50 The Spirit of Chekhov about the "temptation of the flesh."
Igor: We have smoothly approached a block of questions related to your personal life. Can we talk to you on this topic?
Irina (Spirit of Chekhov): Of course, these are answers to questions that will help many people understand themselves.
Igor: Thank you very much.
And we'll start with your own admission that you first visited brothels (presumably, your first sexual experience also happened then) at the age of 13. I understand this was when you were left alone in Taganrog, when the family left. As psychologists say, the first sexual experience largely programs a person's future sexual behavior. You used the services of available women all your life and avoided full-fledged family relationships.
Irina (Spirit of Chekhov): My visit at 13 to that brothel — it also had its reasons. It couldn't be without reasons, and these reasons were in my earlier childhood. These reasons were related to my parents, these reasons were related to my relationships with my mom, with my dad, with their relationship.
And the subsequent unwillingness to start a family was connected precisely with the resentments that I had at that time, in my youth, as I already explained, towards my father and mother. There were hidden resentments that she didn't protect me, that she didn't protect the other children, and subconsciously I had attitudes that family leads to violence, that family leads to the suppression of children.
Firstly, they were unconscious, that is, consciously I, on the contrary, wanted to start a family already in my student years. But the attitudes that were in me in those years (by the way, it was at that time that I corresponded to the 13th spiritual level, 14th, I even lowered my level from the 18th) did not allow it. At the moment of discarnation, I raised my spiritual level, but during my youth I had the 13th level, at some times even the 12th, 11th. Then it was in pleasures that I found the meaning of life. There was such a period, and, of course, I don't hide it. It cannot be hidden, it is necessary to talk about it, because each of you is subject to the so-called temptation of the flesh.
These are certain emotions, feelings, which, as I already said, can lead you away from your spiritual path, from your spiritual destiny. And in reality, by being infatuated with various women and sexual contacts with them, these sensations, various affairs, and women's attention, I consoled my grief from the fact that I didn't have a loved one nearby who would understand me. I simply substituted one for the other, this genuine spiritual Love I substituted with attention from many women. If there isn't one, then let there be many, but those who admire me. I even read to them (shows) my works. They show their Love, wait for my attention, they can just as easily be replaced, like turning a page in a book. It's such a consciousness: the more women, the more Love; the more Love, the more significant I am.
With this, I substituted that genuine, family Love, which is more spiritual. Of course, there is a physical plane. Yes, of course, naturally, in a family there is physical attraction, sexual attraction, if you want to put it that way. This is quite normal, it should manifest itself there, it's a family, as it were, two halves of one whole. But when there's a substitution, when the physical comes to the forefront: beautiful bodies, beautiful clothes, pleasant smells, seduction, coquetry — then this spiritual quickly recedes into the background. Especially for a young man full of strength, who is also, so to speak, famous in society: all this can lead him quite far.
Indeed, all these connections negatively affected not only the creation, generally the desire to start a family (because you called it "unwillingness"). Yes, I had it before — this unwillingness to start a family, and it acquired at that time the form of this, I would say, debauchery. The unwillingness itself arose because of the poor relations with my parents in childhood, and also between them things were not all smooth. I saw a lot in the family that remained behind the closed doors of our house. For example, beatings of my mother by my father and scandals, I saw her tears.
I had a fear that my father's genes would awaken, and I would behave the same way with my wife, with my children. Subconscious. That if I am with one woman, she will bore me so much that I will hate her. And I would be ashamed to get rid of her and divorce, yet at the same time I wouldn't be able to stay nearby: I would just beat her, I would hate the children.
All these subconscious beliefs were formed in me based on the history of the family in which I was born.
1:47:06 The Spirit of Chekhov about his first sexual experience and its consequences.
Irina (Spirit of Chekhov): At that time, I was 13 years old. I had my first sexual experience with a fallen woman. With a prostitute, as you would call her, with a harlot, she was an adult, over 30 years old. And yes, my friends took me there (shows that they were older). They paid for me. Moreover, for the fact that I was a minor: they charged extra for the risk. And yes, she showed me everything that a thirteen-year-old boy was still too young to know. I think every adult understands what I'm talking about, it's inappropriate to go into details here.
But I want to say that this experience influenced me in such a way that I simultaneously understood this inexpressible sweetness of physical relations and simultaneously the removal of responsibility for the woman as for one's wife and mother of one's children. And this, together with the fear (which I described, formed in childhood, it was subconsciously, unconsciously), led to the fact that I did not strive for the development of serious relationships and easily moved from one woman to another. Although I myself, by the way, was quite jealous (shows that he was jealous).
Later I realized that it was necessary to forgive, as I already said, my father, mother. And when I began to work on this (to forgive them, to justify them first in my own eyes, to forgive and pray for them to God), I gradually realized that it was necessary to build my own family. As was already said here, this happened 3 years before my departure from incarnation.
1:49:44 The Spirit of Chekhov about the reasons for his early departure from incarnation.
Irina (Spirit of Chekhov): By the way, I may be anticipating your next question, but I need to say this. I had planned 66 years of earthly life for myself.
Igor: And you lived much less.
Irina (Spirit of Chekhov): Yes.
Igor: Why?
Irina (Spirit of Chekhov): The reason is a poor, unharmonious attitude towards one's body, decreased immunity, and ultimately the destruction of the body by tuberculosis bacteria. Because my immunity, my body, was not enough to suppress this bacteria, to keep it simply in a dormant state. Many people have it in a dormant state: when it enters the body, it stays there, but the immune system overcomes it. My body lacked resources. At that time, the tuberculosis bacillus simply destroyed my lungs, and subsequently, from its destructive work, my body perished.
Firstly, it began, and repeated many times, bleeding from the destroyed lung tissue. And secondly, I'll tell you simply now: any infection, any microbe, any bacteria during its life in the body releases toxins into the blood. And the toxins released by this bacillus caused my blood to thicken, which in turn caused thrombosis of the brain vessels. This was an additional cause, and first there was bleeding, fever, lung destruction, lack of oxygen, and plus this thrombosis, which became the immediate cause.
Igor: The cause of death.
Irina (Spirit of Chekhov): Exactly at this age, not a year later, not 5 years later, but at 44. This is because I had already undermined my health, despite the fact that I left at the 21st level. My spiritual level was quite high, but my body was already undermined, its health destroyed to such an extent that resources were insufficient. And it couldn't cope.
Therefore, I want to address you now: if you have set yourself a departure from incarnation at a fairly elderly, old age, if your Spirit set such a time before incarnation, then this term can only be fulfilled under the condition of a correct, harmonious, loving attitude towards your own body. Only under this condition will your body physically live to the term you set for yourself.
If you break some organ, you will have to live with the broken one. Terrestrial medicine at the present moment does not know how to fix everything. If you break your body so much that the Soul cannot hold onto it, you will leave incarnation ahead of time. And when trying to say to the Angel Consultants or God: "For what reason did I not live to the end of my term?" — there will be a clear answer: "It was your choice." The fact is that an unconscious choice is also a choice.
What exactly undermined my immunity? It was precisely that, among other things — not only tuberculosis, not only the trip to Sakhalin, as was already told in the film. Of course, that was a certain strain on my body. But you know perfectly well that many people travel to Sakhalin, even live there in those conditions, and lived in even worse conditions, but longer than me. Of course, you will ask me: "What does it depend on then?" If not on the weather, then on what, yes? And it is precisely these contacts with various women from my youth that undermined my immunity, my health. I took into my body a very large microbial load from various women who let many men through themselves and shared everything with me: everything they took from them, they shared with me.
My body was a teenager at 13, when, as I already told you, I first had contact with a woman, without any means of protection, naturally. You don't think about that in the moment of passion. In the moment of passion, you're not concerned about the health of the body. And this, according to God's laws, is not love for one's body, such treatment. And it turned out that my body was still very young, it wasn't fully formed, my immunity wasn't yet like an adult's. And she transmitted to me pathogens of microbes that were in many men.
And gradually, I didn't feel it yet, it was gradual work, but from the inside, the destruction of my organism began. And it was precisely for this reason that the tuberculosis bacillus in my lungs, which was there before and was simply sleeping, became active. It came from my parents still, from them communicating with me, holding me in their arms, feeding me, and so on, it just entered in a dormant state. Because my immunity was distracted by what was happening down below, in the genitals, to suppress all that infection, and it got distracted from it, and it began to develop. And it couldn't work on two fronts at once, there weren't enough resources.
Such was the ultimate reason for my departure from incarnation.
Igor: Allow me to clarify. Did I understand correctly that this illness, from which you suffered for many years, and which ultimately caused your early departure from life, was not initially planned by you in the plan, so to speak, of life before incarnation?
Irina (Spirit of Chekhov): No. Acquired in the process.
Igor: The result of your, so to speak, actions, your choices in the course of life?
Irina (Spirit of Chekhov): Yes. But if you mean the causative agent of tuberculosis, then it is not specifically planned, it just got into many, including my brothers. Indeed, one of my brothers also died from tuberculosis. As I already said, I met with his Spirit, it's Nikolai. But the rest, we communicated with them, and Nikolai communicated with them, and, naturally, all this during communication, during conversation, settled on objects and passed on to other children, their immunity coped, and they lived a long life, that is, tuberculosis did not develop.
Why it happened to me exactly like that, I've already explained, Nikolai had his own reasons, let him tell about them himself. And I'm talking about my reasons, and they were precisely physical. But these physical reasons were also caused by my spiritual state. That is, it's clear that you can say: "But why did you go there? Why did you acquire all that there? Why did you change women? You caught things there, and because of that you undermined your health." And why did I go? That was already conditioned by spiritual reasons.
Igor: I understand.
1:59:10 The Spirit of Chekhov about his women.
Igor: Tell me, please, in your life there was Lika Mizinova, with whom you maintained a relationship for a long time. It's hard to judge, but apparently she loved you, and you loved her, but in the end you never proposed to her. As I understand it, for the reason you just explained?
Irina (Spirit of Chekhov): Yes, there were many of them there (shows: many fell in love with him, dated; with some there were generally platonic relations, and there was no continuation).
Igor: There was no continuation.
There was also an episode in your biography that could be called a "triple alliance." At least, that's what they say. I mean Shchepkina-Kupernik, a poetess and translator, and the actress Yavorskaya. They had a love affair, and they lured you into their triangle. For some time in a hotel room, you all indulged in pleasures together. Why did you need this experience?
Irina (Spirit of Chekhov): Why did I need this experience? Because passion, the feeling of this lustful passion, knows no bounds, actually. You quickly get bored with it all, you start looking for something new. If you do this often at a young age, it can often lead to such consequences. And I even saw (shows) in my friends, I won't name their names without their permission, but I'll say that they had even more interesting peculiarities of sexual behavior. I heard about it.
People go so far as to turn to children, to animals, to each other, men to men. Lustful passion very quickly grips young people and knows no bounds, if a person with their spiritual mind does not say to themselves: "Enough! I want to live a spiritual life, I want to use sexual energy for its intended purpose, which God gave." And that is Love, true Love, it is starting a family, it is, naturally, the incarnation of other Spirits, it is creativity, and much more. But not wasting oneself in temporary connections for the sake of a brief spasm called orgasm. It's just not worth it.
Igor: Tell me, please, did you really love Olga Knipper? And did she love you?
Irina (Spirit of Chekhov): Yes. About Olga. A feeling awoke not for a female whose body could simply be used, but precisely for a woman, as a person. I saw a Soul in her, and she saw one in me too.
Igor: Evil tongues say that your infatuation with Olga was the result of a cunning plan by Stanislavsky and Nemirovich, who thus wanted to tie you more firmly to the theater, so that you would continue to write plays for the MAT.
Irina (Spirit of Chekhov): And what do my plays have to do with my relationship with her?
Igor: She would act in your plays. She would tell you: "Write a new play for me." And you would write.
Irina (Spirit of Chekhov): I could give it to any theater.
Igor: But you gave it to the MAT.
Irina (Spirit of Chekhov): And how did that depend on my relationship with her? I could have said, if I didn't like something: "You can also transfer to another theater." No, this has completely different reasons. Simply, Olga (shows) is such a Soul, with whom, by the way, we also met on Disaru, but she was not incarnated there when we met. And how did we meet then? There she was one of my curators.
Igor: What level did she leave incarnation at?
Irina (Spirit of Chekhov): She left incarnation at the 15th level.
Igor: Did you descend to her?
Irina (Spirit of Chekhov): Yes, I descended from the 21st.
Igor: Tell me, please, did you cheat on each other when you were already bound by marriage?
Irina (Spirit of Chekhov): No (shows that there were temptations, but nothing physical happened).
Igor: Evil tongues claim that Olga continued her relationship with Nemirovich-Danchenko, that they were allegedly lovers, and that the second miscarriage resulted from a pregnancy in which you, so to speak, did not participate.
Irina (Spirit of Chekhov): Yes, I understand what is being talked about. The fact is, now you asked about me — I did not cheat. About the other Spirit, her secrets and what she hid from me, I cannot speak without her permission.
Igor: I understand.
Irina (Spirit of Chekhov): We need to call her. I can say about myself: I did not cheat, although I had temptations, such that I was left alone with certain women, and they themselves offered to enter into a relationship (shows that he did not cheat, there was no physical infidelity).
And how Olga cheated, she must answer this question herself. How can I answer without her?
Igor: I understand.
2:06:04 The Spirit of Chekhov about his children.
Igor: Did you have any children?
Irina (Spirit of Chekhov): Yes, but I didn't acknowledge them, I didn't know they existed at all.
Igor: You didn't inquire? Didn't know at all?
Irina (Spirit of Chekhov): Didn't know, they were casual relationships.
Igor: And when did you find out?
Irina (Spirit of Chekhov): After leaving incarnation.
Igor: I understand.
Irina (Spirit of Chekhov): Six Souls incarnated through me.
Igor: That's quite a few!
Irina (Spirit of Chekhov): From different women.
Igor: From which women? Can you tell us anything?
Irina (Spirit of Chekhov): Oh, I didn't even remember their names. They were just casual relationships (shows that they just met, contact happened, and she got pregnant).
Some of them generally got rid of the pregnancy with the help of midwives, and some gave birth. There were four girls and two boys (his Angel Consultants show him these Souls and their gender, as for the women — he just shows me their images, it's clear that these are just certain Souls, they already have other names, it's all visible by energy).
Igor: Thank you. We are slowly approaching the finale. The final block of questions. Tell me, please, are you planning a new incarnation?
Irina (Spirit of Chekhov): No such plans yet. Perhaps later, precisely in my subjective time. But for now, no such plans.
Igor: Thank you. Yes, I remembered. In letters, you call this process of intimate intimacy "tararakhnut" (to bang/slam). "Tararakhnut" — what kind of word is that? Where did you get it?
Irina (Spirit of Chekhov): It's just a variation of a common Russian word.
Igor: So it's not your invention?
Irina (Spirit of Chekhov): No, just as a variation.
Igor: A variation, I understand.
2:08:11 The Spirit of Chekhov about the penchant for collecting.
Igor: One more question. You collected stamps all your life and left behind some gigantic volumes. What was this hobby? Why did you need stamps?
Irina (Spirit of Chekhov): I collected not only stamps, I also collected cigars (shows).
Igor: Cigars?
Irina: Like tobacco. He had different varieties there.
(Spirit of Chekhov): This hobby came from the fact that I wanted to have a collection, to look through it and enjoy what was there (this, again, is the Science of Imagery, because on these stamps there were pictures).
This, again, is because in the previous incarnation, the priority was the Science of Imagery, so I was drawn to various pictures (shows that he also had books, such things).
Igor: Usually, in the finale, we give the audience the opportunity to ask questions that were not included in the main body of our discussion. Can we now?
Irina (Spirit of Chekhov): Yes.
Igor: Dear friends, we have a unique opportunity.
Audience member 1: Good evening! Thank you for such an opportunity. This question: I have a feeling that at the end of the 20th century and in the 21st century, art has degraded. What is your opinion on this matter? And another question: as a curator of art, what specifically do you do?
Irina: What specifically do what?
Audience member 1: What do you do as a curator?
Irina: Ah, what you do.
2:09:54 The Spirit of Chekhov about the development of art.
Irina: So, the first question: has art degraded, yes?
Igor: Yes.
Irina (Spirit of Chekhov): There is an inevitable process of change in art depending on the social transformations of society, scientific knowledge, and the spiritual level, in general. So you change, the generation of people changes inside themselves, and art inevitably changes. If you look in general, I don't see degradation here, it's just development. But where it turns next, of course, depends only on you.
There are, I agree with you here, individual forms of art that look very negative and indeed raise thoughts of degradation. But about all art as a whole, I think you cannot say that, only about individual directions. But in my time too, when I was incarnated, there were also directions of art where certain poems, songs glorified death, violence. It's just now, with the development of information technologies, those you call the internet, video, these types of art can spread faster, including the negative ones, with negative undertones, which carry evil, aggression, destruction. They can spread much faster and more, to a larger number of people, than in my time. Then there were no such technical means.
We just live in different times. And art can be pure, high, and it can be low, which speaks of base needs, of various sinful inclinations, and not just speaks, but glorifies them. And in my time, this existed, it just wasn't so widespread due to the impossibility of distribution due to the lack of technology. But it was, it was also there.
2:12:16 The Spirit of Chekhov about curating the egregore of art.
Irina (Spirit of Chekhov): Regarding the second question: what do I do? I observe the development of the egregore of art, I help cleanse it of negative energies through contact with people and calling them to emit high energies into this egregore. It's like contactee work, but already at the egregore level. I put into this egregore my thoughts — pure, bright ones about what art should serve for the development of the human Spirit, its happiness, and Love in the first place. And my role here is to mentally hint to people who have entered the egregore of art how to achieve this.
Igor: Thank you very much. I wanted to clarify: you're not the only curator of this egregore of art, are you?
Irina: No, there are many of them.
Igor: And can you name someone else among those we know from their earthly life, who is now curating the egregore of art together with you?
Irina: (Spirit of Chekhov) Me, Dostoevsky, Tolstoy (shows, there are about 50–52 of the main ones).
Igor: Tolstoy.
Irina (Spirit of Chekhov): Pushkin. But since he is incarnated, his non-incarnated part, the Higher Self.
(Irina) Who is this? Shows faces, searches in my memory. The fact is, when he gives me a name, and I don't understand who it is, he shows an image.
Now, who is this? I understand. These are all actors, writers, sculptors, composers, artists who were on the whole Earth, some of them.
Igor: Understood. Yes, good. Thank you very much.
2:14:54 The Spirit of Chekhov about the choice of his last incarnation.
Audience member 2: Thank you. Good evening. I send the Light of my Love to Irina and the Spirit of Anton. I thank them for their presence at tonight's event. Question: Anton, what incarnations were offered to you, from which you chose to incarnate as Chekhov?
Irina (Spirit of Chekhov): Yes, I was offered three incarnations that time, from which I chose one on Earth. And the other two were not on planet Earth. One was in a fine-material civilization on the planet Mercury. Fine-material — that's a plasmoid civilization, there the 11th density level. The second was in a civilization also on another planet, which, again, is not part of the Interstellar Union that you know. It is quite far from Earth and from the capital of the Interstellar Union. It is inhabited by a race that you call reptilian. There was a certain physical body there, which I was offered to incarnate into. And there was this 11th density level on Mercury, and then this earthly body, into which I incarnated in the end.
Igor: Thank you for choosing us.
2:16:24 The Spirit of Chekhov about his incarnations.
Audience member 3: Tell me, please, what was the lowest level in this manvantara for you? How did you get there? And how long did it take you to get out, and by what means? That's the first question. And the second question: did you fall into despondency after the death of a loved one? And how did you get out of it? Since you are at the 21st level, you obviously got out. I really ask for a hint. Thank you.
Irina (Spirit of Chekhov): The lowest level for me in this manvantara was the 3rd.
Igor: Wow!
Irina (Spirit of Chekhov): I got there after a war, after participating in a war also on another planet, you don't know it. There also lives a reptilian race, it is also not part of the Interstellar Union and is not in the Milky Way galaxy, but, nevertheless, it was.
How did I get out? After that, I incarnated several times and managed to get out of the 3rd level (shows how he incarnated in fine-material worlds to cleanse himself, reached the 10th level, then in a higher-vibrational plasmoid world — the 12th level: that is, there was a whole series of incarnations).
And only then, after reaching the 12th level, I returned to humanoid civilizations. Because it was very painful and very unpleasant to go into a dense body again with the feelings and emotions I had at the 3rd level. Because there was simply a tangle of contradictions, a tangle of resentments, fears, anger, hatred — all these negative emotions and feelings, and corresponding attitudes.
2:18:20 The Spirit of Chekhov about overcoming despondency and fear of death.
Irina (Spirit of Chekhov): Regarding despondency. Yes, of course, in this last incarnation of mine, as I already said, I experienced despondency at a certain period, after the death of my brother. I missed him very much and was very despondent that he left incarnation at a young age (he was just over 30 years old), didn't live life, saw little.
For a long time I could not understand this, accept it, I even grumbled at God. This shook my faith in God, my trust in God. At that time, I began to show skepticism towards the Spiritual world, towards believers, towards the church. And I even said to God inwardly: "I asked you to save him, I prayed, I went to church, I wrote notes. You didn't do it. You don't care about my feelings?" That was the kind of question. "Or maybe you don't exist at all? Maybe you're just an evil invention of people who manipulate people?" That was the level of consciousness.
How did I get out of this? Only by going through my own path, my own experience, bit by bit returning trust in God. I already talked about how I continued to have prophetic dreams, various signs would appear. If someone among people at that moment had started to dissuade me, to say that it was all normal and not to be despondent, I simply wouldn't have understood and would have even gotten angry, most likely. Because it didn't correspond to my vibrations, my feelings at that moment.
After all, you know from yourself how easily you accept what you want to hear. And I was the same as you, in the same body. And gradually I realized, with the help, of course, of my Higher Self, my Guardian Angels, and my curators, whom I listed. I gradually began to understand that all this is temporary, that I too will die. And since I too will die, then it's not worth being despondent about someone who has already died, because death is natural. I had thoughts that yes, death is natural for the body, but the thought of it is repulsive for a person. But then I began to ponder this question and realized that it is the body that resists so much; it has a program to live.
And I realized that despite the resistance, it will still die. Yes, your bodies will also die — this must be accepted. That's how it is, it's normal, it's natural. But before understanding and accepting this, I first had to go through a long path. Because I first turned away from this thought, again because of my internal fears of this state.
And you, if you are honest with yourselves, first of all with yourselves, then you will honestly say that yes, your body will die, and this law was created by God. And if the law of death was created by Him, and He is Love, then this law was created from the position of Love. It would seem that your whole being cries out: "No, death is not Love!" But in fact, if you look from the point of view of the Spirit, death is liberation from one position and appointment to another.
But before I realized this, I had to go through a long path. And how it will go for you depends only on you.
Igor: Thank you very much!
2:23:31 The Spirit of Chekhov about the initial plan for the incarnation of Chekhov.
Audience member 4: I have a question still about the initial plan — to live to 66 years old. Because it turns out that you would have then caught Russia in such critical periods as the First World War and the October Revolution.
Irina (Spirit of Chekhov): Yes.
Audience member 4: What, then, at that moment, would have been your mission? How could you have influenced society? Would you have been able to change anything at all?
And one more question about the illness. Was there a chance? When exactly, so to speak, did the critical moment arrive, and it was impossible to turn back? Was it possible at some point to still change, to save the organism?
Irina (Spirit of Chekhov): Yes, I understand. Indeed, my incarnation plan provided for going through, for the country where I lived, for its egregore, this difficult life lesson, like revolution, war. That's the First World War, revolution, Civil War. These are very difficult lessons. This is a manifestation of national karma, into which I was inscribed as a Spirit taking on a part of it.
For reasons described earlier, I did not go through this. If I had gone through them, I would have had plans for that (shows what would have changed). Yes, there were certain plans that were not realized.
The plans were these: I would still, through my art — writing, my writing talent — contribute to the emergence in people of an understanding of what was happening. With the help of stories and plays, I would describe the reality in which I lived at that time. And this would help people to experience their experience more consciously and make fewer mistakes. Because when you make mistakes yourself, you may not see them. And when you read about them in a book, this already someone else's experience becomes yours, and you begin to avoid them.
I would write about the most acute problems of society — whether of the Russian Empire, or the Soviet Union. I think, as I saw in the timeline a variant, that I would have found contact with any government, would have become useful to them, but would have continued to write precisely about the problems of the common person, whatever they were called — communist, capitalist, white, red — it made no difference to me.
2:26:34 The Spirit of Chekhov about the possibility of his cure.
Irina (Spirit of Chekhov): Regarding whether it was possible to change something? Yes, there was such an opportunity, but for this I needed, instead of the trip to Sakhalin, to actively engage in my health, boosting my immunity (shows, I needed to go to a sanatorium, to a medical institution).
As a doctor, I understood all this anyway, understood what was happening. I needed to engage in herbal treatment, use special herbs. Naturally, to accept and love myself, my body, to fully forgive my mom, dad, all the women who were in my life, who deceived me in some way, and, naturally, to ask for their forgiveness, to forgive myself for all this.
The inner world had to be involved, plus external treatment with the means that were available at that time. After all, there were already certain medicines, medicinal preparations, they could be used (shows: use more herbs, herbal treatment, and rest, walks, a warm climate, so that there were no additional stresses).
2:28:06 The Spirit of Chekhov about the consequences of his trip to Sakhalin.
Igor: Tell me, please, now, looking from the Spiritual world, was this trip to Sakhalin worth such a sacrifice? We know that as a result of the book you wrote, there were indeed significant changes there, which radically changed the situation of convicts, medicines appeared, in general, living conditions were eased.
Irina (Spirit of Chekhov): Yes, I think it was worth it, even if I interrupted my incarnation, it ended at 44 years old, and I did not live 22 years to the end. These 22 years in the material world were worth the lives and health of many people on Sakhalin itself, because I not only went there and wrote a book about it. I began to write to various authorities, to make requests: to change the attitude towards convicts, to open certain medical institutions there. Moreover, I drew the attention of the authorities to the poor and sick people in Moscow itself, and in the Moscow region, and in the Crimea, where I lived.
And I began to more actively create various charitable foundations, contribute money to them that I had. I even began to direct most of the money I received from the sale of my books, like a philanthropist, to the construction of various houses, shelters for the homeless, orphanages, various hospitals. When I saw how people lived, I was so horrified. But this horror was useful for me, it shook me up, so to speak, brought me out of that hedonistic state (says: hedonistically-indifferent attitude to reality).
Igor: Are you saying that before Sakhalin, you were prone to this?
Irina: He also helped, but it shook him up (shows).
Igor: I understand.
Irina (Spirit of Chekhov): There was a shake-up, because there he saw the suffering of people who had no opportunity to get out of the conditions they found themselves in. It caused shock, in general, and a desire to change everything.
Igor: Okay, thank you. Let's start winding up. Yes, Nikita, the woman with the notebook has been waving her hand for a long time.
Anton Pavlovich, fans came to meet you with your plays.
2:31:30 The Spirit of Chekhov about his sister Maria Pavlovna.
Audience member 5: Dear Anton Pavlovich, I have a question: your sister, Maria Pavlovna, played a big role in your creative activity. She was your beloved sister and left a very large legacy after your departure: she was involved with your letters, plays, organizing productions, creating house-museums, dachas in Crimea, in Gagra, and in Miskhor.
It's a known fact that Levitan courted her, and you were very friendly with Levitan as a painter and as a friend. He spent a lot of time at your place (at the dacha in Babkino, in Melikhovo, and in Sochi). He painted his landscapes. And he proposed to your sister Maria Pavlovna, wrote her a letter asking for her hand in marriage. She showed you this letter, and after your conversation with Levitan, you remained friends, but he made no further attempts to ask for your sister's hand.
And all the men who courted her and were at your home — prominent painters, playwrights, poets (some also courted), you turned them all away, everyone! And until she was 93, she lived on after you, never married and never built her female happiness, devoting everything only to your legacy. What can you associate this with? Did you not see a worthy match for her? Although you loved her very much as a sister.
Irina (Spirit of Chekhov): Yes, of course, I loved her and protected her as an older brother. Therefore, with any of her suitors, I spoke as an older brother and said that I would protect her, and I would find out (shows) the seriousness of their intentions. Because this was a very fragile, very delicate Soul, which could be easily offended, hurt. I asked many questions there about material security, about moral attitude, about even the past, what previous relationships with women were like. Because I actually didn't want her, I protected her from the fate of an abandoned woman with children, or even not abandoned, but what's worse — from the fate of my own mother. As I already told, she had a difficult relationship with my father, her husband (in the flow, speaks very quickly, words are sometimes physically delayed).
Therefore, I showed increased caution and asked them to be very sure of their feelings before taking responsibility for this Soul. Because I considered the man responsible for this decision: he must think very seriously, pray to God, and only if there is complete confidence, then, as you say, propose, offer. And even when such a proposal was made (shows), I first suggested they meet, to communicate without physical, sexual, marital relations, just to get to know each other. And only then, when she herself wants and is ready for a relationship, to enter into them. But I at the same time warned (no, I didn't forbid them, but warned) that I would always be nearby, and if anything, my friendly relations with that man would not prevent me from defending my sister, her honor.
Igor: I forgot to ask: did you ever fight in life? Except for that incident you told about.
Irina: No positive answer. There were simply conflicts, but no positive answer.
Igor: Okay. Dear friends, I think we've found out everything.
(remark from the audience) By the way, they didn't ask this.
Irina: Yes, they didn't ask.
2:36:28 The Spirit of Chekhov about the glass of champagne and discarnation.
Igor: And about the champagne. What's this mysterious glass of champagne? Because some say you asked for champagne, some say the doctor ordered it brought. It was said there was a ritual among doctors, where when one doctor understood that another was about to die, he would, by offering a glass of champagne, let him know that the end was near.
Irina (Spirit of Chekhov): No, it's simpler. I felt it.
(Irina) Shows very strong heartbeat and shortness of breath, cough. With coughing thrusts, clots of blood fly out onto his clothes. I see this picture. Shows the last few minutes. Because when you ask about leaving incarnation, he starts transmitting these memories and emotions to me, it's inevitable during contact. These are images of what he saw himself, what he felt.
I'll try to translate now, because he has somewhat different emotions than mine. Fear from lack of air, coughing, trying to cough up, pain in the chest, and shows how he sees blood on his clothes and understands that the end is near.
(Spirit of Chekhov) Yes, I understand that I won't survive this next attack, that is, understanding comes that death is next to me, like a living creature looking at you. It has a gaze that makes even the leaves on the trees wither. It looked at you — and your body lost strength, that's the feeling. I already said that I left at the 21st level, but I had emotions in the body, this program — to live, instinct. I felt fear, but at the same time understood that it was no longer my fear, but my body's. Such a separation, a change of consciousness. I looked at this blood, at Olga running around (shows) (and some young man nearby — I now see him through his eyes).
I looked at them simply as if from the side already, there was such detachment, but at the same time I felt that I was still in the body. And then I realized that I needed to remove the fear, so that I could leave calmly, without suffering. I realized that it was inevitable, I realized that death was near. And I realized: to remove the fear, I needed to drink champagne, because I always loved wine very much, loved champagne in company: it always removed fears for me. Precisely a small amount, a glass of champagne — and I felt relaxation and calm. It was such a sedative, so to speak.
I was generally, one could say, a connoisseur of expensive wines. In certain companies over dinner, I understood, by the way, many varieties of wine, could even distinguish by taste where it was grown and from what year. And so I resorted to a familiar method — I asked them to give me a glass of champagne, just to calm down. I realized that this heartbeat, panic, they wouldn't let me calm down, pray to God, and accept the inevitable end of my perishable body. And they brought it to me, I asked for it myself (shows: a hand hands him a glass, and he doesn't even see whose it is, because he's only looking at the glass).
I see my hand, which is trembling, reaching out for the champagne. I understand that I'm afraid of missing the glass, but then I finally squeeze it so tightly that it seems I'm about to crush it. I take a few sips, I don't even taste it, I just feel the coolness in my throat and stomach from the cold champagne. And after that, I lay down (shows how he sits on the bed and lies down on his side).
Someone takes this glass from my hands and strokes me. I open my eyes and see Olya. At that moment, I feel a wave of warmth spreading from my stomach throughout my body. I begin to calm down, and at the same time I feel that my breathing, it doesn't satisfy me. I feel that I'm suffocating, but I'm already indifferent to it. I close my eyes and say, "I said goodbye to everyone who was in the room." Someone else had already entered (shows that there is panic).
I whispered that I was dying and loved everyone. I thanked everyone, whispered: "I thank everyone, I love everyone, and I leave you." I didn't say the body is dying, I said: "I am dying."
After that, I closed my eyes and thanked God for this life, asked Him (shows that this was already his faith).
There was already faith that He would meet me, and I asked Him to accept me. After that, I began to lose the sensation of the body. It was a very strange feeling, as if you are dissolving, as if you are losing your boundaries. Fear returned for a short while, I thought: "That's it, now I won't exist, as if I never had." But I removed this fear by an effort of will, I said: "Trust God."
After that, I saw a bright flash of Light right in front of me, just like an explosion, like fireworks. And in the next moment, I found myself next to the bed and was already looking at my body. I looked at myself: I was taller (shows), even than my physical body. I was as tall as the ceiling, and I had wings. And I realized that I could fly. I realized that I could move freely wherever I wanted. I looked again at my body (it looked like this: shows blood trickling from the corner of the mouth, and blood on the clothes, and my wife crying, hands placed on it and crying).
I looked at my body and asked myself: "Well? Do you want to come back here?" And I felt such disgust and non-acceptance, as if, for example, you were asked now: "Do you want to go into a closed closet under a steel lock?" You are free! And here they tell you: "Do you want to live there?" Of course, I said: "No, I'll fly where I want." And I immediately felt such regret: "But what about Olya there? What about my mother (she was alive at that time)? What about my sister, those brothers who were, my family?" And I directly felt the following thought: "They too will come here. Do not grieve for them."
I turned around and saw two shining figures who were stretching out their hands to me and saying: "Hello, brother, we are glad to meet you in your eternal home. Come with us, we will show you everything." After that, I went with them and found myself at the 21st level, where they lived, because these were Guide Angels who came for me.
Igor: Dear friends, I think this is the best finale for our meeting today. Anton Pavlovich, allow me to thank you. We send you the Light of our Love.
Irina (Spirit of Chekhov): Thank you.
Igor: Thank you, thank you for incarnating here on Earth! Thank you for everything you did! Thank you for what you do now! Please, don't abandon us.
Dear friends, we thank Ira for her phenomenal transmission. Thank you very much!
Irina: Thank you.
Igor: Thanks to the Cassiopaea project for giving us such a unique opportunity. Thank you for coming.
Irina: I thank you, dear friends! I thank Igor! I thank the Spirit of Anton Chekhov!
It was very interesting for me myself to transmit this information. There were very interesting answers, sometimes unexpected, but there were. I thank the Spirit of Anton. I thank my Higher Self for help in this contact, my curators, who called him, and all of you, every Soul that came, honored this Spirit with their attention, sent him Light, I feel it very much too. I wish you all an increase in your spiritual level and, of course, a Happy New Year!
March 11, 2025
Participants:
Irina Podzorova – contactee with extraterrestrial civilizations, with fine-material civilizations, and with the Spiritual world;
Igor Lebedev – host, manager of Bryusov Hall;
Anton Chekhov – non-incarnated Spirit of the Russian writer, prose writer, playwright, publicist, doctor, public figure in the field of charity.
