Mother's Chronicles (Book 1)

17

Carrying on the Evolution

It was February, 1951. Mother told us the following incident from the life of Queen Elizabeth I. "She had reached the last days of her life and was extremely ill. But there was trouble in the country; and for reasons of taxation a group of people (merchants, I think) had formed a delegation to her, on behalf of a section of the people. She was in her chamber, very ill, so very ill that she could hardly stand on her feet. But she got up and dressed to receive them. The person who was nursing her cried out, 'But this is impossible! You will die of it.' The Queen replied calmly, 'One dies after.'

September 1964. Satprem was preparing Mother's Talks of 1951 for publication, reading them aloud to her for her comments and elucidations. When he

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read the above text, Mother interrupted him to say, "This remark, 'One dies after,' is my own experience — it was not a 'dream.' Even now I can see the picture: I see the picture of the people, the populace, of myself, of the gown, the person who nursed me —all these I see. And I answered. ... It was so evident! I felt so strongly that things were controlled by the will that I answered, 'One dies after,' quite simply." Mother smiled, "In English, not in French!"

Among all her past lives, each more dangerous than the other, the most acute and poignant imprints were left by her lives as a sovereign — empress and queen and suchlike. Most painful. To be a king is to be tied up in protocol and ceremony, which amounts to one's being a slave with no freedom of action. "I remember acutely a resolve I made in my last life as an empress. I said: 'Nevermore! Enough is enough. I want no more of it! I would rather be —not even 'I would rather,' the choice was definite —I want to be a commoner, in an ordinary family, free at last to do as I want.' " In this birth Mother was not "watched by by a pack of people scrutinizing my every action and

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making rules for what I should do."

Mother had lived not only in France and Italy and England, but also in Russia; ancient Egypt, Assyria, India, China —Mirra had lived everywhere, in all times.

Wherever and whenever humanity— nay, creation itself—had reached a certain stage of evolution, Sri Aurobindo and Mother were there to carry on the evolution to a farther stage.

Once when someone asked Sri Aurobindo what he and Mother were doing during their many births on this earth, Sri Aurobindo replied laconically, "Carrying on the evolution."

*

* *

We may, perhaps, get an overall picture from a vision Mother had in the early years of this century.

"I slept and now I am awake.

"I awoke in a distant past, at the edge of a pool, its water a deep sapphire, as calm as a mirror.

"To the east of the lake I see a superb clump of

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trees —trees of rare species —and shrubs. Their long branches bend down to caress the surface of the tranquil water, which reflects in its limpidity flowers dazzling with rich and variegated colours. In the shade of this natural and charming retreat, glorious white lotuses bloom.

"The retreat is entirely illumined by an irised radiance. And in the centre of this radiance is a young and blond passive [woman] asleep in her gracious beauty, reclining on the large flat leaves, her head pillowed on one of the lovely five-petalled flowers. Her large white dress is caught in at the waist by a golden girdle.

"To her left, straight and proud, like a vigilant sentinel, stands a white ibis perched on one of its coral feet. A protective cloak of deep amethyst is spread over the sleeper. The picture emanates a calm and serene beatitude. The passive must be reposing in an enchanting dream.

"A cool and soft breeze soughs between the leaves, gently rippling the water; and in its caressing breath the breeze seems to murmur: 'Queen of the

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Islands of Deep Waters . . .' 'Queen of the Islands of Deep Waters' is taken up in echo by a harmonious voice rising from the fathomless sapphirine depths.

"Thereupon I fell asleep and awoke in the immense hall of the palace.

"By the form of the columns and the carvings on them, by the paintings, so magnificent and yet so sober, that adorn the walls, I realize that I am in one of those superb palaces of ancient Egypt, in Memphis or Thebes.

"The hall is filled with a picturesque crowd; bright-coloured loincloths and plumed headdresses, jewels and draperies make up a rich and strange harmony. All eyes are turned to the north side of the hall, where, placed in the middle of the wall and raised over twelve steps, is a throne with a purple canopy above it. At the bottom of the steps are two recumbent young lions, placid and strong guardians. To the left of the throne, a white ibis stands on its pink feet. The throne itself is all enveloped in an intensely radiant light. And, in the centre of the light, I see the blond, young passive, holding a white lotus in her hand.

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"Turn by turn, all those present pass before the steps, bowing and taking an oath of loyalty."

As we can see, this vision is pregnant with symbols known in ancient Egypt. According to Egyptian tradition:

The WHITE LOTUS was a symbol of birth and dawn, it was thought to have been the cradle of the sun on the first morning of creation, rising from the primeval waters.

Ibis or the Bennu bird was symbolic of rebirth, of the principle of life and, among other things, was the carrier of eternal light from the abode of the gods to the world of men.

The TWO LIONS symbolized Yesterday and Today, or, it can be said, Osiris and Re.

Then another image of another life is seen by Mirra in her vision; a life in ancient India.

After which she lives yet another scene, in another life. A vast forest of oaks. Through the high tree trunks glints a green sea, coppery in the setting sun. A Western Isle.

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But in each scene the central personage is the young passive.

Once again Mirra falls asleep. "And upon waking, I recognize the unique and marvellous setting of the Queen of the Adriatic at the fairest moment of her royalty.

"Venice the strange, the wild, Venice the city of art and mad passion, Venice whose walls exude crime and whose canals exhale drama..... Here are the magnificent palaces in all the splendour of their flourishing youth; here are the elegant gondolas carrying noble dames and great lords in their rich attire.

"But a strong sensation pulls me to the Ducal Palace; I know that there I shall again find her whom I have just seen through the centuries.

"I enter the great courtyard. And, effectively, by the Giant's Stairway, half hidden behind a pillar, I espy the blond young passive, dressed in a white robe. She is pressed against the shoulder of a fine old man who folds her in his arms as though to protect her. Their faces are sad; their demean our grave. Thus pressed against one another, they watch a stately

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procession slowly climbing the stairs that lead to the palace. And I distinctly sense that their fate lies in the hands of those climbing thus, and who are their mortal enemies.

"Then the old man bends down, kisses the child's forehead and solemnly says to her: 'For eons we have fought and suffered for the sacred cause and for humanity's salvation, across widely different countries, in widely varying situations.

" 'Once more we have attempted our grandiose Work, and it cannot be in vain. Man's enemies are probably stronger than us at the moment, but our hour will come inevitably. They work for division and falsehood. We are of those who fight, and have always fought, for Truth and Harmony: these alone are immortal. The more bitter the fight, the more beautiful the triumph. What does effort matter, when one is sure of the result.'

"The child replies in a sweet voice: 'Assuredly. I have the certitude that upon our next return to the earth, we shall see the Victory!' "

On that note ended Mirra's vision.

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