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ELIAS: ďWe shall be discussing consciousness; stepping sideways in consciousness and holding objective awareness of areas of consciousness. And also, we shall be discussing responsibility within what you are creating in consciousness.

You are the most familiar with your objective waking state of consciousness, but there are other areas of consciousness that are only very slightly removed from your objective waking consciousness. These areas are quite easily accessed. In actuality, you access these areas more often than you realize. You merely do not notice what you are accessing. An extreme example of one area of stepping sideways while you are engaged in objective waking state would be a state of what you term to be daydreaming. This is a more extreme action of moving sideways within your objective waking state. You may move slightly less sideways, holding to your objective waking state, not allowing yourselves to drift so completely as within a state of daydreaming but also stepping slightly to the side of yourselves, and you may hold a greater understanding of your reality.

In this, being fully objectively aware, you may allow yourselves a slight movement to alter your perception just slightly, allowing yourself to move into a feeling or a thought or a physical feeling Ė not emotion Ė and examine this area. In this, what I am expressing to you may be likened to creating a landscape for a thought, or creating an inner landscape for an emotion, or creating an inner landscape for a physical feeling; being fully aware objectively, fully conscious as you term this to be, and noticing a thought or an emotion or a physical feeling, and in this, isolate the individual thought or feeling or emotion and create a landscape for this within you. In doing this, you may view other elements that are connected with this thought. You wish to look futurely; you wish to see into your future. You may, by examining your inner landscape.

You hold an emotion. You may create a physical landscape from this emotion. You may create an entire scene stemming merely from one emotion. Allow yourself to move into the area of the emotion, examining it, and from this allowing yourself to visualize, springing initially, colors that you may identify with this emotion. Create these colors into a landscape. It may be a forest; it may be a lake; it may be a beach; it may be a field. It may be any landscape that you choose; and as you visualize this landscape and you move into examining this, knowing that this landscape is created by one emotion or one thought or one physical feeling, you may allow yourselves to interpret the elements of the landscape, which may also inform you of the direction that you are moving into, which shall be offering you information of what you are creating futurely.

An example: You hold a physical feeling; an ailment. In this, you may look to this ailment; the affected area of your physical body; (to Letty) your asthma. You may look to the actual organs which are affected. In this, you shrink yourself into yourself, create a tiny little you, and place it inside of you. Look to the physical form and create an inner landscape. We shall use a landscape of a tree-lined meadow. In this landscape, as you Ė being this tiny little you Ė move through the landscape, you may view each element within this landscape Ė each flower, each blade of grass, each tree Ė as an element of you and the physical ailment.

As you move through this landscape, you may alter the landscape. You may rearrange the landscape. You may place your trees in different areas; and as you move objects within your landscape, you also alter actions within your intent within your physical form, for you are altering your action. You may also allow yourselves clues. As you view new flowers springing up within your landscape, you may also interpret this as new elements developing within the landscape that is your ailment. As you view certain elements disappearing within your landscape, you also may interpret this as elements and aspects of your ailment disappearing. As you choose to erase elements from your landscape, you may also offer to yourself the acknowledgment that you are beginning to actively uncreate the ailment.

You may use this process of slightly stepping sideways within consciousness, being fully awake, being fully objectively aware, with many different aspects of your focus. You may isolate a thought, and you may create the same landscape. You may isolate an emotion and you may create an inner landscape which shall allow you to view aspects of this thought or emotion, and you may view what you may anticipate futurely; for as you enter more elements into your landscape, you may also be assured that you are creating more aspects connected with this thought or emotion. As you are eliminating elements from your landscape, you may also assure yourself that you are letting go of certain elements of the thought or emotion that you are choosing to be eliminating.

You may also engage this process with each other. You may step sideways with each other within the desire to be affecting or helpful with another individual. In this, you may create a little tiny you, and you may enter another individual and enter their landscape. ... In entering into another individualís landscape, you are not creating their landscape, but you may view their landscape. In this, you may be helpful in expressing to the other individual what you view within their landscape, therefore offering them more information also; for they may be blocking part of their ability to reach their landscape, and therefore you may be helpful in this manner. You may also intersect with another aspect of yourself, another focus, and you may connect with their inner landscape.

Now we move into the area of responsibility. As you are affecting of your own inner landscapes, you hold the responsibility to yourselves and to all consciousness to be affecting beneficially. As you move into areas of affectingness with other individuals or other focuses, even of yourself, you hold more responsibility, for you are now affecting of another focus. Therefore, you hold the responsibility of the expression of essence. This is very important! It is important that you realize that you DO hold a responsibility within consciousness. I do not express to you that all of your existence is merely an experience with no responsibility! You experience for the experience; but you also hold tremendous responsibility to be expressing from essence.

(Firmly) Expression of essence is not to be concerning yourself with all other individuals and their creation of reality, and creating judgment within you as to other individualsí creations of their reality. Your responsibility is to be accepting within yourself, and of all other individuals! I may not express this strongly enough. It is very important!

This, be remembering: each action that you create, you also are affecting within consciousness. Each action that you take, you affect all of consciousness. Therefore, you may quite understand the responsibility that you hold within these actions.

I express to you though, it is much easier than you realize to be stepping sideways within consciousness and offering yourselves much more information than you presently do. It is quite easy to be creating of these inner landscapes, and be offering yourself and others much information.Ē [session 228, October 18, 1997]

Comments

NICKY: ďIím having a real hard time saying to myself, ĎI know the impression will be there eventually.í Itís like I stop the flow of things sometimes, although with the awareness of you being so consistent in my person here, this essence of mine, itís been so much more revealing to me. But I have found that I am blocking something when I come to this thing of knowing, and itís like, what is it I know? What do I know? So then my head starts doing this, and then I remember what you told me. ĎStop. Donít go this way. Donít go that way. Stay right here.í

ELIAS: Correct.

NICKY: Okay, so what is it? Is that my blocking? Am I still blocking in that area?

ELIAS: Focus upon the knowing and challenge yourself in investigation of this. Isolate it.

NICKY: Isolate it. Isolate the incident, so to speak? The idea, the impression, right at the time?

ELIAS: Correct. In this also, you may be engaging our new exercise of creating an inner landscape that shall offer you information. You may be creating this inner landscape with an impression, with a thought, with an emotion, with a feeling. Isolate the individual knowing, thought, impression, emotion, feeling, and then create an inner landscape solely of this thought, feeling, emotion, impression, and you shall offer yourself clearer information within this activity. You may be creating this inner landscape fully awake.

NICKY: Is that what Iíve been experiencing? I was just telling Mary before we started the session. She was telling me about the inner landscape, impressions, and I said, ĎYou know what? For the past week or so, thatís whatís been happening.í I can really get some pictures! I can really get carried away! I can tell you whatís in every nook and cranny sometimes, like colors and so forth and so on.

ELIAS: Quite. These inner landscapes are very detailed.

NICKY: Okay, and then....

ELIAS: You shall hold an awareness of all the aspects of them, and it shall be quite clear.

NICKY: Speaking of that, now that just brings up another question. These pictures that Iíve been viewing, theyíre sporadic sometimes. Sometimes itís an actual intention to go into it, with seeing whatís there. I feel them to be very real. I feel them to be so predominant that I can just about touch it in the physical. Thatís how close it is. Thatís how real it is.

ELIAS: This being the explanation that I have offered within a previous session. This IS reality. You are stepping slightly sideways within consciousness and viewing another aspect of reality. You are beginning to allow yourself the ability to step slightly sideways within your objective waking state and viewing another aspect of reality within consciousness, which is equally as real as what you recognize as your waking state in consciousness.

NICKY: Okay. What weíre seeing, is that what will transpire here in this physical focus?

ELIAS: It is another aspect of imagery within this reality. What you view in your physical waking objective reality is one aspect of this dimensional reality. It is one focus of attention objectively, but side-by-side with this one area of attention that you focus upon are many other areas of your reality that you do not allow yourselves to view at all, but they exist. These other areas of consciousness, that are only very slightly removed from your objective attention and are also objective, may offer you more information of the area of consciousness that you focus your attention within, for this is an action of engaging your periphery.

(Vicís note: the following explanation was delivered intently and accentuated with hand gestures).

It is no different than looking to your physical area before you and not engaging your visualization of your periphery, but merely looking straight ahead and seeing nothing within your periphery, only looking forward. As you step sideways within these areas of consciousness that you may access objectively, you open your periphery. What is before you within your waking state may be a chair. Within your periphery may be a table. It is not the chair, but it is also an element of the area, the physical location that you occupy; but in not engaging your periphery, you do not view the table. You merely view the chair. In engaging your periphery, you also view the table.

This is a very simplified explanation, but within your sense perception of your outer senses, viewing the table also adds to your experience; offers you more information of your physical location. If you are within a room and you are viewing nothing but one chair which sits directly before you, you offer yourself no information other than this chair of your physical location. You are unaware of all of the other elements within your room that also occupy the space arrangement; but if you are engaging your periphery, you also offer yourself more information of the location that you occupy. In a similar manner, if you are opening your periphery within consciousness, you offer yourself more information of your reality. Therefore, the table does not appear to be a chair, for it is not. It is another element within the room, but it IS within the room and within your reality.

The inner landscape may not appear to be the same as your normal waking awareness of objects and actions around you, but it is another aspect of your reality. In viewing only the chair and not the table within your periphery, you may also not be viewing an object upon the table; a clock. In viewing only the chair, you offer yourself no information of your time frame, for the clock rests upon the table. In engaging your periphery, you may view the table and you may also view the clock, offering yourself a time framework; which is not related to the chair, but it is another element of your reality and offers you more information of your reality.

NICKY: Okay. Now if I just keep in mind how you explained that! Knowing this information, coming upon this information of the total reality, what is that telling you?

ELIAS: It is expanding your awareness and allowing you a greater ability within your objective waking state to be manipulating of your reality more efficiently ...

NICKY: Here?

ELIAS: Correct. ... and affecting your reality more efficiently and more creatively and more expansively, which also is part of the action of this shift.

NICKY: ... I have one question that Rudy [Jene] is not necessarily asking herself, but in our conversations ... I would like to know. She remembers being told by you about her stubbornness. I am perceiving, I am getting the impression that however and whatever, and I have no idea to what degree, but I have the impression that sheís working through it. Is this a correct impression?

ELIAS: Correct ... ALTHOUGH (Nicky cracks up) within his tremendous focus upon Ďprocess,í he is creating a process to be working through this! (Grinning)

NICKY: Oh, okay. Bringing up processes and methods and so forth and so on, we all fall into it. I know that desires must be as strong as mine not to go to that arena. That first step that we take off on to go into a method, to go into a process, how can we bring ourselves to the point to not go there? What could we be made aware of?

ELIAS: What you may offer yourselves is that there is no thing wrong with your processes or your methods, but in your thought process of methods and processes, you prolong your movement, for you believe that you must be moving within steps. In this, you may hasten your movement by acknowledging to yourselves that your methods or your processes need not be so very long!

NICKY: Okay! Thatís what I think, too! Iím very agreeable to this!

ELIAS: Attempt to be creating smaller methods, and this shall move you into the area, eventually, of not requiring methods.

NICKY: Okay, so would that be like intentionally deciding? Well, for us it would be a time slot. ĎIím not going to let it go any further than this. Iím going to be done with this by this time,í so to speak? What would the intention be?

ELIAS: This would not entirely be efficient for you, for within physical focus, this would be a quite efficient Ďmethodí of discouraging yourselves and distressing yourselves, for if you are not accomplishing within this time framework, you shall disappoint yourselves and not be acknowledging of your own movement. Choose less involved methods, as the inner landscape. An inner landscape may be accomplished within a few of your minutes, not within weeks or months or years!

NICKY: Sheer agony! (Laughing)

ELIAS: And you may be accomplishing quite efficiently with this Ďmethod,í so to speak, quite quickly, and also offer yourself immediate acknowledgment.

NICKY: Oh yeah! I really like that!

ELIAS: Within these smaller methods, in practicing, you eventually learn to be acknowledging and trusting of yourself and your abilities, and in this, you need no method any longer. Just as within practicing recognition of your impressions, as you continue this action it becomes automatic, and you trust your impressions and you do not question any longer when you are receiving impressions. This is quite acknowledging of self and allows you a greater ability for acceptance of self, and an ease in movement and an effortlessness in movement.Ē [session 231, October 23, 1997]

JIM: ďRecently, in trying to be helpful to someone who had an illness, you suggested that person might look Ė this was a person in England (1) Ė that person might look inward to the actual physical organs, and your words were, ĎRelax their intensity and allow them to return to their natural state.í I think this is how, through my own visualization and meditation, that I arrived at countering the cancer within me. Is this correct?

ELIAS: Correct.

JIM: I have recently, in addition to using visualization, used words, repetitive phrases, and a repetitive phrase specifically was that I embrace complete reliance on the inner power of my subconscious mind, and just repeat that over and over. How do these two different ways ... which is the stronger way? The visualization, or the repetition of thoughts?

ELIAS: They are equal. Within the visualization, you are connecting objectively with the area that you are holding the energy within your physical form. Therefore, you allow yourself the identification of this. Within your method of repetitive statements to your subjective awareness, you are allowing yourself the opportunity to objectively be connecting subjectively with your objective and subjective awareness. In this, you are accomplishing two-fold. You are accomplishing, within your objective awareness, with a connection with your subjective awareness, and you are also connecting with your objective awareness to your actual body functioning and your holding of energy, which is affecting in the area of disease. Therefore, you are connecting in both manners, allowing yourself to be affecting of the situation.

Many individuals attempt to be healing themselves, in what they view to be healing themselves Ė their desire or their wish is to be healing themselves Ė and in not holding an objective Ďmethod,í which you are all so very fond of looking for, they attempt to be focusing upon the affected area within their physical form, but what they are neglecting is the communication subjectively. Subjectively, you are directing of the energy which is directing your physical form, and as you continue to allow subjective communication to be continuing in the area of creating disease, you shall not be affecting this.

You may view objectively, quite extensively, at a creation that you are aware that you have created in the area of disease within your physical body, and you may not be affecting of this; for if you are merely looking to the objective expression, the disease, and not allowing yourself communication objectively with subjective activity, you shall not be affecting. This be the reason that I have offered to these individuals within this forum recently the exercise of creating an inner landscape, for this shall be communicating objectively to the subjective awareness. They are within harmony. Therefore, the subjective awareness continues to create as long as the objective does not interfere, but as the objective may be interfering by creating an inner landscape or communicating with the subjective awareness, then there is an affectingness.

Within the time period that your objective awareness is not communicating to subjective awareness, it is within agreement of whatever the subjective awareness is creating, and your body consciousness is in complete agreement with your subjective instruction. Therefore, what you have created is a method of your own to be communicating not only objectively with your body consciousness and its situation and its holding of energy, creating disease, but also you have connected with the subjective communication and have sent messages, figuratively speaking, to your subjective awareness to be altering of its communication to the body consciousness, therefore affecting.

JIM: Somehow I have created ... Iím not sure I understand the concept of the inner landscape. I have created the inner landscape?

ELIAS: In a manner of speaking; not in the same direction that I have expressed previously as an exercise, but basically you have accomplished the same thing.Ē [session 232, October 31, 1997]

ELIAS: ďRecently, I have offered an exercise in creating an inner landscape; stepping sideways very slightly within your objective awareness; not being within a meditative state, not placing yourself in what you term to be an altered state, but within complete objective awareness waking state, you may be creating of an inner landscape by objectively creating yourself to be very tiny and entering into yourself and allowing an inner landscape to appear. This be another area of creating WITHIN your objective awareness. You hold the ability to access many wondrous elements of your physical focus objectively. You merely believe that you must be placing yourselves within an altered state to be accessing these other elements of your reality. It is unnecessary. You hold the ability to be viewing many creative elements completely objectively.Ē [session 234, November 05, 1997]

MIKE: ďOkay, I read the exercise you gave for the stepping sideways, I guess, so to speak, and I didnít quite understand how you explained it. So could you like give more info or add to it or clarify it for me, please?

ELIAS: And you are choosing to be stepping sideways to be viewing other focuses or other dimensions?

MIKE: Both.

ELIAS: Allow yourself a quietness. Allow yourself the opportunity to be moving into an area of Ďfocused unfocusedness.í I have offered an exercise that you may be connecting to within a recent engagement with our new young Sumafis that may be helpful to you in this area, and you may be accessing of this information if you are so choosing. (2) This shall offer you more information in the area of stepping sideways and allowing yourself the ability to be viewing other focuses and other dimensional focuses.

MIKE: Okay. My mom [Nicky] asked you in one of her last sessions about how to manipulate time, and you said like doing meditation and stuff?

ELIAS: Correct.

MIKE: I donít understand the process. I mean, do I just sit down and say, ĎOkay, Iím going to meditate,í and then just think about time and what I want to do with it?

ELIAS: First, allow yourself what I have expressed. Allow yourself to move into the area of a focused unfocusedness. In this, my meaning is that you allow yourself a directedness Ė you allow yourself to direct your attention in one specific area Ė but you also relax your attention, that you are not concentrating so very intensely upon the particular direction that you choose. Allow yourself to be relaxed in this state.

In this, do not allow yourself to be drifting to the point that you are incorporating your own inner chattering, which shall be distracting, but enough relaxation that you are not objectively concentrating in intensity, for if you are concentrating in the manner such as, ĎI shall view! I shall view! I shall view!í, this shall be blocking of your viewing. Therefore, merely allow yourself a direction, but not the intensity of the concentration, and allow yourself to materialize your own visualization. If you are allowing yourself the relaxation, you shall also more easily offer yourself the materialization of a visual image that shall be moving you into the information that you seek.Ē [session 290, June 25, 1998]

MARI: ďHow should my husband approach some of his physical problems, which includes weight? Some problems include circulatory, swelling of feet and lower legs, high blood pressure, muscle and connective tissue problems, and problems with rotator cuffs. They tear easily. He wants a way that he can live with and wonít have to suffer too much while solving these problems. Could you please suggest a way for him?

ELIAS: My suggestion is to be allowing for natural time each day. It needs not be excessive amounts of time, but to be incorporating some elements of natural time each day in which not only shall he as the individual allow himself to move into a creative expressive as moved by his own impulses, but also to engage within this natural time moments of allowing visualization in what you term to be quiet restful time, moving into the area of creating a relaxed visualization that he may be entering into the inner landscape, which shall offer him information that he may soothe his own physical affectingness to an extent, and this shall create an ease in part of the expression that he has created.Ē [session 299, July 19, 1998]

BILL: ďCould you explain to me a little more about the internal landscape, how it operates, how it can... I seem to be ending up with several ailments in my body and I would like to correct them, but the information on the landscape is Ė how do I want to put it? ... not complete to me. I donít totally understand it, even though I made it function once.

ELIAS: Very well. Recognize that in moving your attention to the creation of an inner landscape, it is not necessary to be visualizing actual physical functions or organs or tissue in association with your physical body consciousness. You may allow yourself to generate any type of landscape in any design that you choose. It is unnecessary that it be constructed, so to speak, in literal physical terms.

Allow yourself to incorporate your communication of imagination. In this, as you allow yourself to incorporate a physical relaxation, you may also allow yourself to creatively generate a visualization of, as I have stated, any type of landscape which you associate with certain aspects of your physical body consciousness.

Now; in this, you may manipulate the movement of what you place in this inner landscape. You may choose to be, as an example, generating a scenario in which you may view a woodland area, and in this woodland area you may construct certain creatures and certain vegetation and generate an association between these images and certain aspects of your physical body consciousness.

In further example in this scenario, hypothetically you may be visualizing certain vegetation, as an instance, that you do not prefer to be incorporated in your landscape. Therefore you may generate a particular creature that may appear within your landscape and may consume the vegetation that you do not prefer, clearing an area for you to generate a type of vegetation that you DO prefer.

Now; this is symbolic and abstract imagery, which moves quite in harmony with your objective awareness, for your objective awareness generates quite abstract physical imagery within your waking state. Therefore, as you create within your relaxation this type of imagery in visualizations, you are allowing the objective aspect of your awareness to participate in harmony with your want in altering a physical body consciousness expression.

Now; the significance of this type of action is that the subjective awareness is the aspect of you that directs the physical body consciousness and its function and its communications to the objective awareness. Therefore, in generating the visualization of the inner landscape, what you are engaging is an allowance of harmony of the objective awareness with the subjective direction of the physical body consciousness, and you are also allowing the objective expression of awareness to generate imagery in its natural capacity, which is abstract. Are you understanding?

BILL: I am following it really close, yes.

ELIAS: Many times individuals may express to themselves a recognition or a noticing of physical body consciousness communications in a physical affectingness that they are generating.

Now; in noticing what the individual is generating in physical affectingness, the attention automatically moves to thought. But as there is a lack of clarity in understanding of the function of thought, the individual may continue to generate thought concerning what they are creating in physical affectingness and in thought express a direction of thinking, concentrating their attention upon the thinking, and expressing to themselves that they wish to be altering the physical affectingness. And it does not occur, for the attention is concentrating upon the continuation of the generating of the physical affectingness and reflecting that in the translation of thought, which continues to express ideas in relation to the physical affectingness. Even in the time frameworks in which an individual may be expressing to themselves, ĎI am noticing that I am generating a pain. I wish to be discontinuing the pain,í what you are actually generating is merely concentrating upon the creation and not necessarily the alteration of it.

Now; in moving your attention and allowing your objective expression to generate its natural imagery in abstractness, what you create is moving your attention from thought, which does not generate your reality, into an expression of harmony and movement which shall generate a communication to your perception, and your perception shall alter and create a different expression.

BILL: In the session that I read, you stated that if you dwelled on it too long you would recreate it. How do we know when it has been repaired, shall we say, the problem?

ELIAS: By merely allowing yourself to generate the imagery of the inner landscape and trusting what you have created. For this is what I am expressing to you, in generating the movement of your attention to thought, many times you do dwell upon the physical expression, and in that action you reinforce the creation of it.Ē [session 1076, May 08, 2002]

HOWARD: ď...the feelings that I have are debilitating and stressful, which I think finally brings us to the final question regarding my health.

There is something seriously wrong with me, and I am not at all pleased with it. It involves my heart, which I didnít know I had an issue with until I went to the doctor and got focused on that, and the other part is my intestines and stomach. I was trying to figure out the proper imagery that I am suffering from, but the closest I can come to is something called a prolapsed rectum. Although itís not cancerous in any way, itís a very deep bother to me, because for the most part, for the first six hours of my awake-fullness during the day, Iíve got to be within five feet of the toilet because my sphincter muscle doesnít work. And itís kinda embarrassing. That coupled with...

ELIAS: Now, stop. Allow yourself to recognize what you are creating in physical imagery that reflects what you have been doing for an ongoing time framework. What you are reflecting in physical imagery in manifestation is an inability to control restriction and contraction, which is a reflection of what you have been doing for an ongoing time framework, attempting to be expressing control by holding energy and expressing that tension and restriction of yourself and of your energy, and the restriction of allowance and freedom and relaxation. You have incorporated that action for such a time framework, and have not been paying attention and have been attempting to ignore that action, that you are incorporating a different type of manifestation now to move your attention. The physical manifestation is being generated in comparable intensity to what you have been expressing in energy.

HOWARD: I had this conversation with you before I woke up, and I said to you okay, what do I do about it?

ELIAS: First of all, you may begin in creating an inner landscape. The purpose of the inner landscape is to allow yourself to relax, to NOT express control, to NOT restrict, and to trust that your physical body consciousness knows how to function naturally. Therefore, in generating an inner landscape, you do not focus upon a particular manifestation. You generate a landscape, and you allow the expression of your imagination to generate a colorful and a creative landscape that naturally moves in harmony with certain elements of your landscape that consume other elements. But the consumed elements are also created in an expression of beauty, not in an unwanted manifestation. For in that action, you are acknowledging the creativity of what you have manifest and acknowledging the perfection of how it reflects so precisely what you have been generating in action and in energy. Therefore, there is no discounting, there is an expression of trust, and there is an acknowledgment and appreciation, which allows the physical body consciousness to be generating its natural functions.

Now; that is a beginning. I may also express to you to be noticing how often and how frequently and how automatically you are holding energy and attempting to be controlling and restricting your own movement, restricting your own energy unless it may be expressed within the guidelines of your rigidity.

HOWARD: Do I take that also to mean that just in terms of objective stuff, like to have more color for example, going out in the garden planting flowers or... Are we talking about deeds here or just mind-set? Do I buy a new car?

ELIAS: No. I am expressing that you generate practicing an inner landscape. An inner landscape is associated with your physical body, but it is a visualization in which you create a landscape, and in that landscape or seascape, you create the images of creatures and vegetation that move in harmony with each other, and ones that consume the others, but in a natural manner, and that whatever is being consumed within your landscape should be expressed as some element that you appreciate.

As an example, perhaps within your landscape you create a beautiful meadow and within that meadow there are many different delicate flowers and also perhaps small rabbits that gently move within the meadow and consume the flowers. But there is an appreciation of the flowers and their beauty and their fragrance, and there is also an appreciation of the rabbits and their natural movement within your landscape. You may choose any landscape. You may choose any scenario. Whatever is pleasing and preferred to you and whatever may be incorporated with appreciation by yourself is to be included within your inner landscape.

Now; the point of this inner landscape is to offer an appreciation and a trust of your physical body consciousness in its ability to function naturally without your control, for it is not necessary to control. It also serves as an interruption of your concentration. It allows you to move your concentration to appreciation rather than concentrating upon the perpetuation of the physical manifestation. As you continue to concentrate on the physical manifestation, you continue to create it. Therefore, this action incorporates another purpose also in interrupting that concentration and allowing you to stop momentarily your concentration upon the physical manifestation and therefore interrupt your creation of it. It also reinforces your trust of yourself. It also allows you to intentionally relax and to stop holding energy.

In this, that is one exercise that I am encouraging of you to be incorporating. I also shall be encouraging of you to be paying attention to any moment that you notice that you are generating tension in energy within your physical body in association with control and restriction. I am aware that you perceive yourself to be engaging an alteration of certain structures within your focus, correct?

HOWARD: Yes.

ELIAS: Now; in that, notice how frequently you express this restriction of yourself and this tension. For you are not producing in the familiar manner, and that triggers issues of control. All of these factors of restriction are generating reflections in physical manifestations. You are reflecting the intensity of the uncomfortableness of the alterations of your structure with the uncomfortable reflection in physical manifestation, which is quite understandable, for the alteration of the structure is also what you may consider a physical expression. You are physically altering the structure of your focus and what you do.

And in all of these expressions I encourage you to be expressing a gentleness with yourself. DO NOT FORCE ENERGY. Remember, there is a tremendous strength in energy which is being expressed now, and ANY individual may be receiving that energy quite easily, and if not aware of what they are doing, may very easily create extremes.

HOWARD: Thank you.Ē [session 1610, August 14, 2004]

ELIAS: ďGood day!

BILL: Good day to you!

ELIAS: Ha ha! And what shall we discuss?

BILL: Well, I want to go back to internal landscapes.

ELIAS: Very well.

BILL: We discussed this quite some time back, and in one of the sessions that you had talking with someone else, you said that another person could join you in an internal landscape.

ELIAS: Yes.

BILL: I got thinking that it would be very nice if youíd volunteer to help me with my internal landscape.

ELIAS: Very well! I shall be quite pleased to be engaging the action with you.

BILL: I have been having problems seeing the internal landscape clearly when I try and develop it. In the very early stages when I tried it, the landscape was clear and sharp in my mind, but as I later on try it, it is kind of hazy and not well defined.

ELIAS: Are you continuing to incorporate the same landscape?

BILL: Iíve tried a couple of different ones, to see. There was one that was very sharp for a while, and then it too seemed to fade out.

ELIAS: Which inner landscape have you developed that you view as the most pleasing?

BILL: Itís probably the landscape from my neighborís yard, looking out onto the river in front.

ELIAS: Ah. Perhaps it may be more beneficial and more consistently clearly expressed if you develop a landscape which is not necessarily an actual landscape that you are familiar with, one that allows for the incorporation of more imaginative creations, one that may be real in your terms but not necessarily one that you are actually familiar with. As an example, you may develop an inner landscape that is incorporating an ocean theme, and in that ocean theme, perhaps you engage the imagery of icebergs and walruses.

Now; walruses may not necessarily be a creature that you are entirely familiar with, and therefore, it allows you to incorporate more imaginative imagery and allows you to generate more creativity, which is more stimulating. In landscapes that are more familiar to you, they may more easily fade, for they are not as stimulating for you limit your creativity with them. In a manner of speaking, you are not stimulating yourself. Therefore, the landscape becomes somewhat boring, for it is perceived to be limiting in what you can insert in it.

Therefore, if you choose an unfamiliar landscape with some familiar imagery that is somewhat familiar, merely in form, but not entirely familiar in environment, it allows you to express much more creativity and insert different images into your landscape and alter the images at times. Your glacier may be different shapes, your icebergs may be in different positions, your fish or your plants may be different, the atmosphere may be different, it may be sunny at times, or you may be visualizing under the water, or you may be visualizing storms. In this, you allow yourself much more of a broader experience with the imagery that you create. Are you understanding?

BILL: Yes, I am, very much so.

ELIAS: Or you may choose other types of imagery. My suggestion to you would be to focus first upon a chosen creature, and in choosing a creature, allow yourself to choose one that you perceive to be playful or gentle or powerful, which the optimum would be to choose a creature that incorporates all of those elements.

BILL: A monkey?

ELIAS: Yes.

BILL: Playful, powerful.

ELIAS: Correct. But also incorporates gentle aspects and nurturing. That is a creature that is not familiar within your environment. Therefore, that allows you more creativity to engage designing different types of landscapes that accommodate that creature.

BILL: How do we manipulate the creature, the landscape? The area of internal landscapes that Iím interested in is repairing health problems.

ELIAS: I am understanding. The point of the inner landscape is to focus your attention in a manner in which you are generating a creative action, and therefore expressing a creative energy within yourself. The point is to be affecting of physical manifestations and altering them through the action of the inner landscape without concentrating upon the effected element of the physical body consciousness.

This is what generates the success of this type of action, for if an individual generates some type of physical manifestation within the physical body consciousness that the individual perceives to be damaging or uncomfortable or debilitating in some manner, the automatic response to physical manifestations is to concentrate your attention upon it, which merely perpetuates it. Therefore, the significance of the inner landscape is that you are moving your attention to different imagery, allowing yourself to trust your physical body consciousness that it knows how to interpret your inner landscape and what the communication is.

In a manner of speaking, it is an intentional action of moving your attention in another direction and trusting yourself and your manipulation of your physical body consciousness. You do not generally incorporate an objective awareness of, or attention to, how certain organs within your physical body function, but you trust that they function properly. Correct?

BILL: Yes.

ELIAS: And they do. For in your trust of yourself to be generating adequate functioning of certain elements of your body consciousness, it does not require your attention. You are not continuously, throughout your day, in every moment, objectively expressing to yourself to breathe in and out to sustain what you term to be life. Correct?

BILL: Correct.

ELIAS: Therefore, what you are doing is you are trusting that you are communicating to your physical body subjectively to instruct it to breath in every moment, and it does. In moving your attention to the inner landscape, you are not focusing your attention upon the area of your physical body that you have generated a manifestation within that you dislike; therefore, you are not concentrating upon it. You are moving your attention to an interaction of a landscape that appears to be entirely unrelated to your physical body consciousness, but this is an intentional objective manner in which you are expressing a communication to your physical body consciousness, which your subjective awareness translates with the intention that you want.

Remember, the objective and the subjective move in harmony and NEITHER FOLLOWS THE OTHER. THEY MOVE IN HARMONY. Therefore, if the subjective is moving in one direction, the objective is also; if the objective is moving in one direction, the subjective is also. If you are objectively concentrating upon dis-ease, the subjective communicates to the body consciousness and creates that. It instructs to create that. If you are not concentrating objectively upon dis-ease, the subjective reflects that also and instructs the physical body consciousness to function in different manners, and that alters the manifestation or the dis-ease.

That is the point of the inner landscape. You are engaging the object of the inner landscape, the monkey, as your champion. The monkey is you, it is your gladiator, and within the monkeyís environment is the manifestation that you wish to alter. But you do not create the manifestation in the landscape as some imagery that you shall associate with in a negative manner. Therefore, the object of the dis-ease, so to speak, becomes perhaps insects that the monkey finds delicious. Therefore, it is an element that is pleasing to the monkey. Or perhaps it is beautiful ripe fruits that the monkey revels in, and therefore, the monkey naturally consumes these beautiful fruits.

The monkey is engaging a natural action and is generating an action that you may view as playful and pleasing. The monkey may also be challenged by other creatures which are other elements of the dis-ease, and in those challenges, the monkey is expressing its strength. It may also be presented in its environment with an infant monkey, and therefore, it is allowed to express a gentleness and a nurturing.

All of the elements in the environment that the monkey interacts with are all different aspects of the dis-ease. This allows you to create imagery that is nurturing, is supportive, is trusting, is generating strength, and is also expressing a playfulness; which, all of those actions are contrary to the expressed energy of dis-ease. Therefore, all of those energies dissipate dis-ease. Are you understanding?

BILL: Yes. I think I am.

ELIAS: Very well. Then perhaps I shall express to you if you have chosen the monkey as one of your inner landscapes that you may be creating, I shall appear in your inner landscape as another monkey. Therefore, there shall be two monkeys.

BILL: Are you going to be blue?

ELIAS: If you wish.

BILL: (Laughs) Thatís generally how you show yourself.

ELIAS: Very well! I shall incorporate the form of a blue monkey, and you may choose whatever color you wish.

BILL: I will stick with the standard brown, I think.

ELIAS: Very well. You may be brown and I shall be blue, and you shall recognize me as your companion in your environment. My role shall be to reinforce whatever you choose to insert in your environment. Therefore, if you challenge yourself with a baboon, I shall be at your side with you in a show of strength. If you insert an infant monkey, I shall rock it with you. If you insert delicious fruits, I shall consume them with you! And I shall engage playfulness with you without any other imagery. (Laughs)

BILL: So as I understand it, there is nothing in the landscape that depicts the malfunctions in the body, then?

ELIAS: Correct. All of the elements in the landscape, other than the subject, which is the creature, are all elements of the dis-ease, and what is significant is how you interact with them.

BILL: Now, this interaction is spontaneous, I assume.

ELIAS: Yes.

BILL: And so no script or anything like that is required?

ELIAS: Correct.

BILL: For what period of time do we do this? Do we do this for ten minutes, an hour or two hours?

ELIAS: It is unnecessary to be engaging lengthy time periods. You may incorporate several of your minutes, whatever you are most comfortable with. Some individuals enjoy playing within the inner landscape and may choose to be engaging somewhat of a longer time framework, perhaps twenty or thirty of your minutes, but that is not necessary. It is merely a matter of preference.

I also suggest that individuals initially allow themselves to engage briefly their inner landscape, perhaps two or three times within each day, and subsequently generate less times of incorporating the inner landscape within a particular day. But initially, it is beneficial and reinforcing if you engage the action briefly several times within one day. That allows you to become more familiar with the action, more comfortable with the action, and it also interrupts your concentration upon the actual dis-ease. The more you interrupt the concentration upon the dis-ease, the less you reinforce creating it.

BILL: Now comes another question. What is causing me to be interested this time is the doctors have found a growth on my bladder, which I would prefer to remove this way rather than with their methods. How would I know that that has been dealt with when I canít feel it or canít see it? Do I take their word for it that itís there?

ELIAS: Pay attention to what you develop within your landscape. This is significant. Remember, you are NOT scripting. Therefore, each time you generate your inner landscape, it is spontaneous. Therefore, it shall be new and not known prior to its creation. Therefore, pay attention to what you actually generate.

If you generate, as an example, several times of engaging your inner landscape, and in each of those times that you engage it, you continue to insert fruit or insects that continue to be consumed by the monkey, that is an indicator that you are continuing to address to the manifestation. If what you are creating consistently with the monkey is similar, this is an indicator of specific actions that you are generating in relation to the physical manifestation.

If the imagery changes, let us express that perhaps six times you engage this inner landscape and within all six times the monkey is at one moment consuming fruit and in another moment is being confronted by another creature in which it must assert its strength, and within your seventh visualization, the monkey is suddenly playful, the imagery has altered dramatically. That is an indication that you have also altered what the manifestation is.

BILL: Is this affecting all manifestations of the body?

ELIAS: That is dependent upon you and your direction. If your intention, without incorporating THINKING Ė do not incorporate a thought process concerning the manifestation within the time framework that you are generating your inner landscape; your concentration and attention is be within the landscape and not upon the physical manifestation Ė but prior to your visualization, your inner landscape, such as now, if your intention is to be affecting of any or all physical manifestations, it shall be. That is all that is required, that you incorporate the intention that all physical manifestations shall be affected through the visualizations of the inner landscape. Or you can be specific in association with one manifestation, and that shall be understood also.

Generally speaking, most individuals choose to engage one manifestation with one visualization or one inner landscape, for that allows you more clarity. It allows you to be specific and to be paying attention to one manifestation Ė not holding your attention upon the manifestation, but as I have expressed, it allows you more clarity, more of a singularity and less confusion if elements within your landscape change. If you are intending to focus that inner landscape in relation to one manifestation, you thusly know if the imagery changes within your landscape. If your subject is generating different imagery, that indicates that you are affecting the manifestation in a different manner.

Now; conversely to what I have offered as an example, let me also express to you, it is possible that you may begin generating your landscapes and you may be generating imagery with the monkey that may express a gentleness and a playfulness, and that may consistently be generated in several of your visualizations. If that be the situation, that would be an indicator that you are affecting diminishing the manifestation. If subsequently you generate imagery in which another subject enters the environment, a challenger, in which the monkey must assert its strength, that may be an indicator to you that you are reinforcing the manifestation. It is dependent upon how your visualizations move.

The assertiveness of strength with the monkey may not necessarily indicate that you are reinforcing the dis-ease, if that is the consistent imagery. It may be an indicator that you are asserting a strength of energy to diminish the manifestation. But if the imagery is not expressed in that manner consistently and you inject that type of imagery somewhat suddenly, that would be a different indicator.

BILL: Now, do we change creatures or do we stay with the monkey?

ELIAS: That is also your choice.

BILL: So if I decide to stay with the monkey, that does not affect the inner landscapeís results, then?

ELIAS: No.

Now; you may also choose, if you are addressing two different manifestations, you may choose to continue with the same inner landscape with different intentions, or you may choose different landscapes concerning different manifestations. It is dependent upon the individual, which direction offers you more clarity.

BILL: When you say ďchanging the different landscapes,Ē would that mean changing the creature also or just the environment that the creature operates in?

ELIAS: That would involve altering the subject, which would be the creature.

BILL: That clarifies that pretty much. Now, can I write a book on inner landscapes so other people can learn it?

ELIAS: If you wish! (Chuckles)

BILL: I think this is a very critical part of this environment, to be able to do something like that.

ELIAS: It may be incorporated quite successfully if the individual is genuinely engaging it, for it is a successful method of moving attention. That is the greatest pitfall with individuals within physical focus, that if you are generating some type of manifestation or experience that is uncomfortable or that is malfunctioning in your assessment or is threatening, you automatically hold your attention upon that manifestation or scenario.

BILL: Well, with the pharmaceutical trade and the doctors, you get bombarded with everything around you, taking the medicines Ė it reinforces everyday.

ELIAS: Correct. Therefore, the point is to interrupt this cycle and the familiarity of it and introduce a method that breaks that concentration and interrupts that attention.

BILL: I assume that I have to experience first before I can tell someone else how to do it.

ELIAS: (Laughs) That would be advisable. Just as it would be somewhat challenging and difficult for you to explain to another individual what the experience of love is if you have never experienced it.

BILL: Itís true. During the last year, I felt rather comfortable with myself, more so than I ever have before. I credit it to the reading of the sessions that you are putting out and somewhat understanding it. Not totally by any stretch of the imagination, but I seem to be more at ease with it. Can you confirm that?

ELIAS: Yes, and I may also validate that this is evidence of you widening your awareness.

BILL: My automatic responses are diminishing some.

ELIAS: Ha ha! That is significant. And becoming much more familiar with you.

BILL: Somewhat, but not to the amount that a lot of your other students are.

ELIAS: Ah, DO NOT DISCOUNT YOURSELF!

BILL: Well, I wasnít discounting. I just said I hadnít quite gotten that far in the textbook yet!

ELIAS: Let me express to you, my friend, there are no levels, and no one is ahead of you. (Laughs)

BILL: I think that covers the majority of the questions that I have at this time. Iíll put this to practice, give myself maybe a month, and then weíll get back together and critique what Iím finding out and see what we can reinforce or make it work more to our liking.

ELIAS: Very well, my friend! I shall be anticipating that meeting and interaction, and I shall be immediately complying with your landscape as your blue monkey.

BILL: I think that will be fun.

ELIAS: Ha ha! Quite! I am in agreement.Ē [session 1784, June 28, 2005]

DARYL: ďHi. Itís been a while since we talked. (Very emotionally) I donít know exactly how talk about all this! If you have anything that youíd like to add that Iím not asking, Iíd like you to feel free. (Pause) Are you there?

ELIAS: Yes. Allow yourself to breathe, Ashrah.

DARYL: What?

ELIAS: Deep breaths. Deep breaths. Allow yourself to relax, calm and relaxed. Breathe. (Pause)

Have you attempted to incorporate an inner landscape?

DARYL: Not recently. I find it hard to do anything. I did do the deer and the roses, and that did some changes on its own, but I havenít done that recently, either.

ELIAS: That may be helpful in allowing you to relax, distracting your attention and generating more of a relaxed state within your physical body. The more you incorporate relaxation, the more your physical body can move naturally and shall produce less discomfort. Are you understanding?

DARYL: Yes. So the inner landscape with the deer would be helpful?

ELIAS: Yes, and I may also suggest to you that you may incorporate altering your inner landscape. Choose an alternative inner landscape that you may also express. Therefore, you are not continuously focusing upon one. For, that one may not necessarily continuously generate the desired effect, for it becomes too familiar.

DARYL: I think thatís maybe one reason I stopped doing it. It was getting familiar.

ELIAS: Yes. You automatically incorporate an element of boredom, and you create obstacles in which you are not incorporating your creativity in what you insert into your landscape, for it becomes too familiar. My suggestion is that you choose two other creatures as your subjects, and for each of those creatures, you may construct an inner landscape around them. But my suggestion with the two other creatures, in addition to your deer, would be to choose two different creatures that are more unfamiliar to you.

What would you choose in this present now as a creature that you know of but is not entirely familiar to you?

DARYL: Maybe a raccoon.

ELIAS: Very well.

DARYL: Thatís my power animal.

ELIAS: Very well, a raccoon. This would be an adequate creature, for it does incorporate a playfulness but it also incorporates a strength and power, and it also expresses a gentle nurturing with young. Therefore, all three of these qualities may be incorporated, and you may be creative with your landscape with this creature, for it may occupy several different habitats, which allows you a broader spectrum of creativity in which you may insert surrounding the creature. Also, choose another, in a different type of environment. (Pause) What would you choose?

DARYL: I donít know. I was thinking of a squirrel, but thatís kind of the same environment.

ELIAS: Correct. Choose a creature with a different type of environment.

DARYL: Maybe a beaver? Is that different?

ELIAS: Choose one more unfamiliar. Let me offer to you a suggestion. Choose a creature such as a walrus, a hippopotamus, an orca, a polar bear Ė a creature that inhabits a very different type of environment.

DARYL: I didnít even think of those, thatís for sure.

ELIAS: What would be appealing to you?

DARYL: Maybe the orca.

ELIAS: Very well. Once again, a choice incorporating a creature that inhabits a variety of environments, which allows you a broad spectrum of creativity, for they also migrate. It also is a powerful creature, but also incorporates a tremendous playfulness and a very strong nurturing and gentle quality, very strong in its social expressions in a nurturing and gentle expression.

Now; with the raccoon, you can incorporate landscapes of many different varieties, for the raccoon may inhabit many different types of physical areas. Also, the orca, as it travels and migrates, generates locations in many, many different types of environments Ė warm waters, cold waters, icebergs, but also tropical waters, shallow waters, deep waters, open seas and narrow straits.

This allows you to incorporate many different elements within your landscape, for the more that you incorporate a variety of habitats that the creature may incorporate, the more you also can include not merely different landscapes and different vegetation but also different other creatures that your creature may interact with or may consume. This allows you much more of an imaginative exercise, and it incorporates much more of a distraction, which allows you to relax, and it also allows you to continue to focus your attention.

Now; in these two new landscapes, I shall express my energy with you. I shall generate my energy to appear within your landscapes as a second of the same creature, therefore incorporating my energy with you in helpfulness.

Now; I also shall express to you some different instructions in association with this inner landscape. One is to be more spontaneous. Do not incorporate an idea of your landscape prior to engaging it. Allow it to develop itself.

I am expressing this to you specifically for a reason. Each of these creatures incorporates these three qualities that I have expressed to you. In allowing yourself to generate the landscape, the environment around these creatures spontaneously, it allows you to be somewhat surprised in association with what the creatures are doing.

Now; this also is efficient, for it allows you a further step in this exercise, one of evaluation, which offers you more information. If the creatures are exhibiting a particular behavior for several visualizations and subsequently the behavior changes, this is an indicator to you that your energy is changing. I shall offer examples to you that you may more clearly understand what I am expressing to you.

As an example, if you incorporate your inner landscape, you visualize your orca and it is swimming within its pod, and let us say that your visualizations in four exercises, hypothetically, is that the orca is violently consuming seals, and subsequently, in your fifth exercise, your orca is swimming calmly with a small one. What you have generated is an expression for four of those exercises in which the subject is exercising its strength and subsequently its behavior changes to be expressing gentleness and nurturing. That is your indicator that your energy has changed and has been expressing a strength in association with the dis-ease and has somewhat accomplished and subsequently is expressing a gentleness and more of a relaxed energy.

If you are generating imagery in which the creature is being playful consistently or being calm and gentle and nurturing, and you incorporate one exercise in which it dramatically alters into an expression of strength, that may be an indication to you that you are struggling with yourself, that you are fighting or opposing. If the creature expresses strength in more than one visualization consecutively, that is an indicator that you are exercising your strength not in opposition to the dis-ease but in altering it. If you generate a visualization in which only one exercise is expressed in the strength but not followed by another visualization of the strength, that is a signal to you that you have altered your energy and are opposing.

This is a manner in which you may offer yourself clear communications as to what your energy is doing. It is a type of meter or gauge that you can incorporate to reinforce you more strongly and which shall also allow you to sense within yourself that you are actually manipulating energy and doing some action with it, which also shall generate more of a sense of control for you, which in this situation may be helpful if you allow yourself some expression of knowing that you do incorporate some control and that you are actually manipulating your energy in some manner.

Now; I shall also express to you, if you generate that type of exercise in which there is merely one exercise that incorporates the show of strength, not followed by another, I shall also in that particular exercise display some different behavior. Therefore, if it is the raccoon and the raccoon is encountering another creature in which it naturally displays its strength or shows its strength, I shall be the other raccoon and shall incorporate some action of playfulness, which shall be another indicator to you that your raccoon is displaying that strength as opposition. Agreed?

DARYL: Okay.

ELIAS: I shall also with the orca do likewise. If your orca is attacking a seal but merely in one exercise, I shall appear to you as another orca, perhaps breaching or rolling, which shall be an extra indicator to you.

I may express to you, temporarily the orca may be a more powerful inner landscape than the raccoon. Although as I have suggested, I express to you to incorporate an alteration of all three. In that manner, you are incorporating more creativity. But whichever one you choose in any time period, allow yourself to continue with that one for a time framework. Do not alter each visualization from one to another to another, for that does not allow you to evaluate the information that you are offering to yourself, for you are paying attention to the behavior of the creature in its environment. Therefore, it is necessary that you incorporate several exercises with one creature and allow yourself to view the type of behavior that is being incorporated.

I shall be offering my energy to you also to provide some additional element of comfort, for I am aware that you have been generating anxiety and considerable discomfort.

DARYL: (Weeping) Iíve blocked you pretty well most of the time.

ELIAS: I am understanding. And what of your bird?

DARYL: Iím having trouble with her since I had my head shaved. Iím creating it that she doesnít want to sit on me and get patted like she used to. But we are doing an alternative where she gets on me and we go look outside the window.

ELIAS: Very well. It is a matter of unfamiliarity and incorporating a gentleness and a cooperation, and allowing yourself to incorporate alternative actions with your bird.

DARYL: How much of that is me just creating stuff through my beliefs and how much is her reaction? Because I know she was very attached to my hair.

ELIAS: It is all intertwined.

DARYL: So itís not a hundred percent me?

ELIAS: No. It is also somewhat of the creatureís preference and its familiarity and your familiarity. The creature incorporates a natural quality to preen. With the difference of species, hair is a translation of feathers. Therefore, the creature incorporates a natural expression of bonding and a natural expression of action with you that it would with another bird or its flock. That becomes familiar, and it becomes natural in its expression. There is an alteration of you, and therefore, that is unfamiliar. Therefore, to generate that natural bonding and interaction, the creature must incorporate a new or unfamiliar or different manner in which it can express in association with you. This is a matter in which you may be helpful in being nurturing with the creature, with the bird, to introduce new and different types of expressions that you can share.

DARYL: I have been trying to do that.

ELIAS: That shall be helpful to you both, for the creature also expresses an energy of appreciation and affection to you. If you allow yourself to receive and interact, that shall also be helpful in a calming element and a reinforcing element.

Do not slip into your own trap of worry in relation to the creature, for that shall reinforce in a different direction. That shall reinforce you expressing tension, it shall reintroduce the expression of projecting your attention, and you shall influence the creature to respond in reflection.

DARYL: Like the day she bit me.

ELIAS: Yes.

DARYL: Is it useful to try to get her to come and sit on me like she used to? She seems resistant to that right now. Thatís why Iím doing the alternative.

ELIAS: The alternative is acceptable. If you offer a different expression in which the bird can interact with you if you are holding the bird, rather than hair, offer some other manifestation that the bird can interact with with you.

DARYL: I even saved some old hair, but that doesnít seem to be working.

ELIAS: No.

DARYL: So it should be something new?

ELIAS: Yes, a new introduction.

DARYL: In relation to that, she does like my eyebrows and stuff, but Iím afraid thereís some kind of toxicity there. Can you tell me if itís safe to play with what hair there is?

ELIAS: Yes.

DARYL: It is safe?

ELIAS: Yes. You may even incorporate feathers.

DARYL: Her feathers? Or the peacock feathers?

ELIAS: Or different feathers that may be incorporated between you both as an element to play with, to interact with.

DARYL: So she really feels like Iíve lost my feathers?

ELIAS: Yes, which is unfamiliar.

DARYL: Well, thereís a bunch of stuff Iím confused about, one of which is that I felt like when we last talked, they said they didnít want to do surgery and I had the CT scan that showed that there wasnít any spread. I felt like I was giving myself an opportunity to have the lump resolve on its own without medicine. But it didnít do that, and then I ended up with chemotherapy. (Extremely emotionally) So, Iím confused about my direction, about what Iím showing myself. It seems like Iím showing that I donít have power, and I thought this was to show me that I did have power.

ELIAS: But you incorporate power. It is merely a matter of how you use it.

DARYL: So Iím just using it in a way that I donít especially like, is that it?

ELIAS: Let me express to you, Ashrah, many times you, in similar manner to other individuals, may generate manifestations or experiences that you may not necessarily like or that may not necessarily be comfortable, but they are no less a display of your power. You focus your attention in one direction, and you become very black and white concerning what you want or attempting to evaluate what you want and what you do not want, and confuse yourself.

In the midst of that action of confusing yourself, you also are generating actions that display your power and your strength and your efficiency in creating whatever you are creating. It may not necessarily be what you are thinking, but regardless, that is another element of what you are addressing to. You are not merely addressing to the evaluation of what you want or what you do not want. You are also addressing to expressing your power. In your confusion, that power may be expressed in dramatic manners that may not necessarily be comfortable.

And remember, I expressed to you previously Ė you inquired, you expressed a directness with myself and I expressed in kind Ė I expressed to you that whatever you chose in relation to this manifestation, this dis-ease, you were not generating comfort. Not that it is impossible for you to alter that, and this is the reason that I am advocating you incorporating these different inner landscapes. But with the energy that you have been expressing and the opposition that you have been expressing, what was being created in your words was and is ďmessiness,Ē and I confirmed that with you previously.

DARYL: I was thinking that I have been lessening my opposition to the medical beliefs. Is that true?

ELIAS: Yes, you have.

DARYL: But Iím still having a lot of pain and messiness.

ELIAS: I am understanding.

DARYL: So, have I got a long way to go in terms of the opposition?

ELIAS: That is a relative question, for that could be expressed but it also could not be. It is dependent upon you. You have been expressing less opposition, but you are continuing to oppose. It also may be helpful with these inner landscapes in providing you with a distraction that allows you to relax.

In that, perhaps you can incorporate that as a cooperative expression that you are incorporating in addition to what you are generating in relation to your physicians Ė incorporating it as a cooperative action, not as one that is better or more powerful, but that you move in the direction of generating these inner landscapes as a cooperative effort to move with your physicians. You are generating an energy to help them to help you.

DARYL: Now, in relation to the drug I started taking today, which Iíve had a lot of judgments about in the past, thatís to help me relax and be in a better mood. Would that be in the direction of cooperation?

ELIAS: Yes. That would be an example of you incorporating your actions to help them to help you. The point is for you to allow yourself to receive, that these other individuals have been created by you as one of, not your only, but one of your methods to alter a particular manifestation that you have created.

DARYL: One of the other things Ė I donít if you can explain this briefly Ė but you talk about that thereís a subjective movement and then that can be expressed objectively a thousand different ways. I was wondering if you could say something to me about what my subjective movement is, that I have chosen this objective manifestation instead and why I didnít choose other different objective manifestations.

ELIAS: Let me express to you Ashrah, this is a very common question, ďwhy did I choose this particular experience or manifestation as opposed to any other experience or manifestation?Ē Which is essentially a moot point, for whatever manifestation or experience you choose is directly in proportion to whatever you are addressing to.

DARYL: Thatís what Iím trying to figure out, is what Iím addressing to. Iím having many, many dreams during the night, and I also have this sense that Iím rebuilding my entire self.

ELIAS: Which, in a manner of speaking, you are.

In this, you have expressed a tremendous intensity in relation to fear, which you and I have discussed, and you have incorporated tremendous movement in addressing to fear. You also have incorporated a tremendous association and shrine, so to speak, in relation to exposure. These are expressions within you that have been ongoing and have been expressed in intensity. You have been addressing to them, but another element in that is your exploration to discover your own power, which is directly associated with these other two subjects of fear and of exposure.

Expressing your power in proportion to the subjects of fear and exposure would be a considerable manifestation of power. In this, you would choose some type of manifestation that can illustrate the strength and the volume of your power. This would be a display of that.

Also, let me express to you quite genuinely and perhaps you may generate a clearer understanding in this explanation. When are you genuinely and ultimately the most present with yourself in the now?

DARYL: I donít know. I feel like Iím not, lately.

ELIAS: Ah, but you are. You are the most present with yourself in the now if you are experiencing discomfort.

DARYL: Or probably if Iím taking care of the manifestation directly, which I have to do sometimes.

ELIAS: Yes.

DARYL: Now, when I am in that, then I should be trying to be noticing what Iím experiencing and feeling?

ELIAS: Partially, but the point in me offering that statement to you is that you recognize this is the why.

DARYL: This is the why?

ELIAS: Yes. Your question is why would you or why did you choose to incorporate this type of manifestation, this type of experience, this type of dis-ease.

DARYL: So that I can be more present with myself?

ELIAS: This is a manner in which you may identify that you ARE present with yourself in these moments. Therefore, in recognizing that, you may practice being present with yourself in the now in other experiences, not merely experiences that are uncomfortable.

I may also express to you an encouragement, for most individuals express similarly. They are the most present with themselves in the now if they are experiencing some manifestation or experience of discomfort.

DARYL: So Iím trying to understand how to do that, but without the discomfort?

ELIAS: Yes. But the point is that you must be aware of what it is that you are doing. This has allowed you now to identify what that means, to be present with yourself in the now Ė not to the exclusion of all that you generate around you or your environment, but being very aware of you and your existence and your presence in the now. In recognizing that in an experience of discomfort, you can translate it into experiences in comfort, for you now know what that presence is. Previously, this has been somewhat concept and words. Now you know.

DARYL: And I feel pretty lost.

ELIAS: But now is the point in which you may begin to acknowledge your power. It has been expressed in considerable strength in what you have accomplished and created thus far. Now perhaps you can allow yourself to express and experience that presence with yourself, that knowing of your existence, in experiences that are not uncomfortable, and express your power equally in those types of experiences. But do not overwhelm yourself. Allow yourself to relax and move in increments. For in attempting to push, you merely generate great potential for disappointment and discounting yourself. That, in this time framework, is too automatic.

Therefore, allow yourself to relax and move in increments, acknowledging yourself in each day with what you accomplish in each day in whatever expression it is, whether it be to generate one or two or three exercises of your inner landscape Ė it is not necessary for them to be expressed in ongoing time periods; few of your minutes is sufficient; it is not necessary to be concentrating upon an inner landscape for an hour Ė acknowledge yourself in an accomplishment that you may generate in expressing a few of your minutes in playfulness with your bird and appreciation of your bird and appreciation of yourself with your bird. These are incremental actions that shall allow you to be more aware of being present with yourself in the now.

DARYL: Well, weíre running low on time, and I have a couple of little questions I want to ask.

ELIAS: Very well.

DARYL: Am I observing essence of Mercedes de Acosta?

ELIAS: Yes.

DARYL: And is that lifetime?

ELIAS: Yes.

DARYL: The others are for a guy named Bob that I met through my Shift Assist site. He wanted to know three things. One, is Ryan a name of a future focus of his?

ELIAS: Yes.

DARYL: Would that be a first or a last name?

ELIAS: First.

DARYL: Is that a female?

ELIAS: No.

DARYL: Is there some reason he would be getting female feelings about that?

ELIAS: What he is connecting to is a female energy.

DARYL: A female energy but in a male body?

ELIAS: Correct. Not necessarily gender, but a female energy.

DARYL: He wondered if he has another future focus name Cat, C-A-T, or that had C-A-T as part of the name?

ELIAS: Yes, that would be what you would term to be a nickname.

DARYL: Just Cat as the nickname?

ELIAS: Yes.

DARYL: Is that a male?

ELIAS: No, that is a female.

DARYL: And he wanted to know if his essence name is Folkes.

ELIAS: That is a focus name.

DARYL: And could you tell him his essence name, then?

ELIAS: Essence name, Lester.

DARYL: Spelled the usual way?

ELIAS: Yes.

DARYL: Thatís a far cry from Folkes. (Elias laughs)

I guess, going back, the trouble Iím having with pain, that mainly has to do with opposing medical beliefs?

ELIAS: Yes. Also opposing the dis-ease, opposing the medication, opposing the physicians and opposing the dis-ease.

DARYL: Opposing everything. I thought I was getting along pretty well with this new group of doctors.

ELIAS: Yes, and that is what I have acknowledged, that you are opposing less with the physicians, but you continue to be opposing in other manners.

DARYL: In terms of opposing the dis-ease, how do I get rid of it and still not oppose it? I donít know how to do that.

ELIAS: It is not necessary to oppose it. You may acknowledge that this is what you have created and the efficiency of that and the power of it, and acknowledge your experience with it. The manner in which you do not oppose it is to be incorporating your inner landscapes.

Remember, there is no element with your inner landscapes that is generating a negative association. It is all natural actions. The deer consume the flowers; the flowers are pleasing to you. The raccoons may be playful and may be pulling nuts from trees and hurling them to the ground, but that is a natural action to crack the nuts that they may be consumed. Even the orca may be generating what appears to be a violent action in shaking a seal, but that also is a natural action to consume what it naturally consumes in its environment.

Therefore, no imagery within these landscapes is incorporating what you would view as negative associations. They are all natural actions that the creatures...

DARYL: Even if my beliefs are saying they are negative, like the orca and the seal?

ELIAS: This is a natural action that the creature incorporates.

DARYL: I know. It just upsets me.

ELIAS: You are correct. Even though your belief or your preference expresses that this is distasteful to you, you also recognize that this is a natural action and that you are a different creature, and you are not what is generating that action or consuming the seal. The orca is.

But the point is, in this, you are not opposing your manifestations in generating these inner landscapes, for you are allowing yourself to trust your body consciousness and your subjective awareness to instruct the body consciousness in its natural function to alter itself. Rather than opposing or forcing energy in opposition to what you have already created, you are allowing yourself to move in a different direction of trusting the ability of your body consciousness to return itself to its natural state.

DARYL: I feel like you are giving me a lot of subjective information about that, too.

ELIAS: You are correct. Watch for the other raccoon and the other orca.

DARYL: Oh, and one tiny last thing. I keep seeing a whole bunch of robins and they have orange chests, and Iím thinking theyíre Patel.

ELIAS: It is imagery that you are offering to yourself in an expression of energy of supportiveness from Patel.

DARYL: Well, we really have to stop.

ELIAS: Very well. I express my encouragement to you as always. I shall be, as promised, offering my energy to you in your landscapes. And I express my appreciation to you, Ashrah. I shall be anticipating our next meeting. Receive from me my encouragement to you.

DARYL: Thank you.

ELIAS: In great lovingness as always, my dear friend, au revoir.

DARYL: Au revoir.Ē [session 1788, July 02, 2005]

STEVE: ďElias, could I ask a question about myself, personally? I have had pancreatic cancer for about three years now. To break that process of not repeating, repeating, itís a constant focus thatís there day in and day out, and my condition changes every day. Itís hard to be able to break that repeat cycle. What I attempt to do is try to bring myself back to my own attention and let my thoughts go elsewhere, but the underlying, looming factor still is getting cured or getting healthy at some point in time.

I really have a hard time because itís a constant thatís always there. Itís very difficult. How does one go about breaking that constant repeat cycle? Itís almost unavoidable to do it. I attempt to do it in small bits and pieces but...

ELIAS: I am understanding. With physical manifestations, you are correct, it is much more difficult, for your attention automatically moves to the physical manifestation and concentrates upon it. That attention becomes divided in concentration upon the dis-ease and moving to engaging the thought mechanism more intensely to offer yourself solutions to the physical manifestation or dis-ease.

This is the reason it is significant to understand that thought does not function in that manner. It does not offer you answers; it does not offer you solutions. Other expressions of yourself that are communicated not in language are what generate your solutions. Thought merely translates it after the communication has occurred. What is significant is to allow yourself to engage those avenues of communication, engaging visualizations, inner landscapes.

Inner landscapes can be very effective, for they do not require thought. It is a visualization and it does not require any objective knowledge of the mechanics of the physical body consciousness. It does not require any understanding objectively of how your body functions or how it is malfunctioning. In this, it allows you to move with your subjective awareness in a natural manner of directing the body consciousness naturally, not in dysfunction.

Also listening and engaging your inner senses, that of your empathic sense or your sense of conceptualization, may be very beneficial in distracting from the thought processes.

STEVE: Can you recap some of those things now?

ELIAS: Conceptualization is an inner sense that is exceptionally difficult to translate into thought; therefore, it can be more effective, for the thought mechanism is ill-equipped to translate the movement of what you do in conceptualization, for you are merging with an action, not a thing. Therefore, you are merging with the movement of energy. You are merging with the movement of concept, not a thing.

In this also, it may be suggested that you allow yourself to engage intentional relaxations in which, rather than focusing upon malfunction, focusing upon appreciation, generating genuine acknowledgment and appreciation of your physical body consciousness and acknowledgment of your power and effortlessness in generating the dis-ease. Rather than viewing that as a failure, recognizing it as an expression of your power in an effortless manner Ė which required no thought to create Ė and was created quite effectively and efficiently, and in that, as being an accomplishment not a failure.

STEVE: Itís funny that you say that, because my approach to this has been continually that it has been a reward in many aspects in my life rather than a bad thing. Iíve gotten so much more inner peace and inner belief in myself about what my capabilities are. Applying those now, I look at that as so much more rewarding and as something that I may have brought into my life for a purpose. I do like the suggestion of focusing more on the higher quality things (inaudible).

ELIAS: Congratulations, my friend!Ē [session 2049, July 22, 2006]


End Notes:

(1) Paulís note: referring to the information offered to David Tate about a friend of his in England who was ill in session 215, September 07, 1997.

Transcripts: find out more about Davidís friend.

(2) Paulís note: referring to the group mediation exercise of accessing shared focuses. Elias offered this to the new group that Mary had sessions with after her move in February 1998 from Castaic, California to Brattleboro, Vermont. He referred to this group as the ďyoung SumafisĒ as so many of them belonged to the Sumafi essence family.

Exercicses: find out more about the accessing shared focuses exercise.

Digests Ė see also: | accepting self | altered states/projections of consciousness | appreciation | aspects of essence | attention (doing and choosing) | avenues of communication | cultural/natural time | dimension | dis-ease and healing | effortlessness | essence; an overview | essence families; an overview Sumafi | expression of essence | focus of essence; an overview | imagination | impulses | information | inner senses; an overview | intents | noticing self | objective/subjective awareness | perception | engaging periphery |


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The Elias Transcripts are held in © copyright 1995 Ė 2014 by Mary Ennis, All Rights Reserved.

© copyright 1997 Ė 2014 by Paul M. Helfrich, All Rights Reserved. | Comments to: helfrich@eliasforum.org