Wednesday, March 27, 2002
Participants: Mary (Michael) and Joseph (Dainel).
Elias arrives at 2:11 PM. (Arrival time is 20 seconds.)
ELIAS: Good day!
JOSEPH: Good morning, Elias! I hardly recognized you; you were so soft at first. (Elias laughs) The first thing I want to ask you about, Elias, is did you put that smiley face on my screen the evening of December 1, 2001 in response to a certain question? Second of all, shall I state the question, or do you just want to say yes or no?
JOSEPH: That was just an affirmative to what my question was, right?
JOSEPH: Thank you. Elias, Iím wondering about a certain something that went through my mind, and I donít know if it was imagery or a connection with a focus. Iíll go into detail only if you want me to, but itís basically about the voyage Columbus made. It seems to resonate with my present situation. Is that really imagery, or do I have a focus on one of those ships that Columbus sailed in 1492?
ELIAS: As a shipmate, yes, you do incorporate a focus.
JOSEPH: Thatís what I thought. Would you mind giving me his name, please? (Pause)
ELIAS: Juan Miguel.
JOSEPH: Thatís like my middle name, Michael.
Elias, I wonder if you could tell me if I disengaged in one of three possible places. Did I disengage in the sea, did I disengage in the Caribbean on an island, or did I disengage back in Spain? (Pause)
ELIAS: At sea.
JOSEPH: Thank you. I had some questions about some well-known personages that I have an underlying question on. Iím kind of going indirectly about asking it, and I hope you donít mind my taking this approach.
The two well-known personages are Arnold Schoenberg and Albert Einstein. First of all, tell me if they have both a directing and observing essence. Do both of them have a directing and observing essence?
JOSEPH: Can you give the families that these essences belong to? I donít care about the alignment essence family. The first one is the family of Albert Einstein.
JOSEPH: Are they both Sumafi?
JOSEPH: Whatís the other one?
JOSEPH: Is the directing or the observing essence Gramada?
JOSEPH: Tell me, Elias, could you give me the essence name of that particular essence of Gramada?
ELIAS: And what is the significance of this questioning?
JOSEPH: Iím sure you know Iím a little embarrassed about asking you, because I have such a strong feeling about having that as a focus. It scares me if I ask if I have a focus of someone that famous and then you said no. Since you said he belongs to Gramada, thatís what I belong to. I wonder now if he might be a focus of mine.
ELIAS: I may express to you that you do participate as an observing essence, and this is what you recognize in the familiarity.
JOSEPH: What about Arnold Schoenberg? I might as well come right to the point. I want to mention, Elias, that the reason Iím asking about Schoenberg particularly is that I had a mental conversation with you. Did you get through to me accurately, or did I misinterpret you again like I did once before? You kept telling me in my mind that Schoenberg is a focus of mine. You didnít say that directly; you said that this personage created a new system of tonality, which immediately brings to mind Schoenberg. Go ahead and speak, Elias.
ELIAS: Yes, you are correct, although this also is an observing essence.
JOSEPH: I seem to have a pile of observing essences. Donít I have any directing essences?
ELIAS: Yes, you do, although this, I may express to you, is not unusual, for this...
JOSEPH: It seems like Iím weighted toward observing essences. Is this easier to connect with, or is there another reason why? Does it just happen that Iím getting impressions of observing? Is it easier, or does it just happen that Iím getting impressions of observing?
ELIAS: It is not necessarily easier, but it may be as easy to be recognizing of this type of action as it is to present to yourself focuses that your essence is directing of.
I may express to you, you allow yourself to connect with these types of focuses or this type of action easily for it is not being directed by you, and therefore you do not incorporate as much restriction with yourself in allowing yourself a recognition of participation.
JOSEPH: Thatís a fascinating point. As far as I know this has not been brought up before in sessions.
ELIAS: For this allows you to be connecting with certain individuals that may incorporate notoriety without expressing an association of arrogance within yourself.
JOSEPH: Thatís very interesting. You have given me a total number of focuses of 630. Are those both directing and observing focuses?
JOSEPH: Theyíre only directing?
JOSEPH: I donít recall requesting the exact figure of observing essences. I suppose I observe a great many to a partial degree and others to a full degree, so itís almost a difficult number to come up with. Is that correct?
ELIAS: Yes, this is correct.
JOSEPH: Then the other question that I would like to ask is probably I would guess that the number of observing focuses I have is way over the number of directing, if you include all of the partial ones.
JOSEPH: Well, that answers that! I noticed, too, that you answered half of a question of mine when you mentioned that about arrogance. The other half of the question was that generally speaking one gets the impression that only famous people, people of notoriety, have both directing and observing essences. I would imagine thatís not true, but that sure would seem that way. Would you care to comment on that, please?
ELIAS: I may express to you, your impression is correct that this is not an action that occurs merely with individuals that you view as famous. This is an action that occurs quite frequently.
JOSEPH: Thatís plenty for that. Thank you very much. I donít know if I want to go on to a list of a dozen impressions I have had confirmed by you before. But right now I suppose I want to ask, first of all, in my previous session with you, you made a cryptic remark. I didnít catch it and I wanted to ask you to explain it. I recall asking about the focus of a friend and you confirmed that he was not a focus of Schumann, that George was not Schumannís wife, and Brahms was not Jeff but then you said a companion. What did you mean by a companion in regards to Jeff? A companion in this life, a companion of Brahms? Would you explain that, please?
ELIAS: In the other focus, and companion in terms of what you may identify as a close friend.
JOSEPH: So Jeff is a very close friend of Brahms. Was it anybody of fame youíd find in musical history books, like a composer?
JOSEPH: Thank you.
ELIAS: You are welcome.
JOSEPH: I want to ask about a couple of focuses of siblings. I connect my sister Jane who lives in Hawaii with Genghis Khan. Is that a focus of hers, or is she associated? Also, I connect my brother Bob with that too, but as a general in his army. Speak on both those, please.
ELIAS: Both are associated with that individual but neither incorporates a focus as that individual.
JOSEPH: So theyíre not Genghis Khan but theyíre closely associated with him?
JOSEPH: In a much earlier session, you made another remark that really was intriguing the heck out of me, and I never got around to asking you. You made the remark that my Egyptian focus is still influencing, and Iím not sure what that means. I know that I carry over or have an interest in astrology in that focus. I guess it was astrology and I was an astrologer. Is there something more besides that?
ELIAS: Actually, this is an influencing expression in relation to this present focus of attention.
JOSEPH: Anything else besides that astrologist?
JOSEPH: So we can end this right here.
I have a tremendous interest in music. Since my job gave out during the year, it gave me this wonderful opportunity to practice many, many hours. I have a couple of questions about that. As far as I know, as far as I can tell looking inside myself, itís purely that I have a strong, strong interest. Do you see anything else that Iím missing?
ELIAS: Not necessarily. This is a creative expression that you incorporate a preference of in this focus. It allows you to express energy outwardly in a creative manner, which allows you a free flow of your energy expression.
JOSEPH: I belong to Gramada, which puts the person in the background. What does that have to do with it? I guess a person of Gramada would never really be on stage. The closest Iíd get to it would be like in a nursing home. Am I on the right track there, Elias?
ELIAS: Not necessarily, my friend. It is dependent upon your alignment and also your choice of an intent. GENERALLY speaking, individuals that are belonging to this essence family do not necessarily express outward movement in generating tremendous attention...
JOSEPH: In other words like fame.
ELIAS: Correct, although this is not a rule. I may express to you, your alignment in any particular focus is much more obviously expressed. The family that you are belonging to is expressed in more of an underlying manner. It is influencing of certain actions and behaviors that you incorporate, but it is not as overt as...
JOSEPH: I think youíre describing something that you stated in a session before that Iíve forgotten about.
Another thing about my music that I want to ask you is since Iím soft, Iím wondering what kind of influence that has. I got a couple of specific things to add to that. One is that since a person who is soft creates both internally as well as externally, maybe itís more difficult to concentrate on the music totally. Wouldnít the ability to totally concentrate on the music be common?
ELIAS: Not necessarily, for this actually is a type of expression that may be expressed by an individual incorporating the orientation of soft more often, in a manner of speaking. For individuals that hold the orientation of soft express outwardly but many times do not necessarily express energy outwardly in generating a product, so to speak, or a physical manifestation, but more often express outwardly in expressions or interactions, which do not necessarily translate into an object or a thing.
JOSEPH: Are you still there, Elias?
JOSEPH: One other thing I want to ask about the music is I have such a strong interest in musical development but I didnít get an early start. Things are missing in my development. It comes to my attention every now and then, and it causes me some distress, although Iíll take the opportunity to practice on every occasion. I know that youíve mentioned essences do get help when they request it. Itíd be wonderful if I could have help from any interested essences in developing my focus, particularly with the rhythmic problems that I have. Is speaking to you about it the right way of going about it, or do you have some other recommendation?
ELIAS: I may express to you that you may be requesting energy of other essences to offer helpfulness, in your terms, to you in your movement in association with your creativity and in association with allowing yourself to move your attention, and it shall be responded to. I may suggest to you that you allow yourself an openness in an action of relaxing, and this shall facilitate your own allowance in receiving...
JOSEPH: I understand that, Elias, but Iíd like to have a little more help from you in how to go about relaxing.
ELIAS: Intentionally relaxing your energy in a physical expression.
JOSEPH: Thank you for that. Let me go on to asking you about the families of some people associated with me. Iíve had a very long friendship with someone named Glen. Iím suspecting that heís soft and that he belongs to Ilda and aligned with Sumafi. Confirm or correct, please.
ELIAS: Yes, you are correct.
JOSEPH: All three things? Wow, good for me! (Elias laughs) The other thing is my recent partner, with whom I have made a tempest in a teapot, as you know. I would say that Myron is almost certainly common. Heís probably aligned to Gramada Ė I mean heís Ilda aligned to Gramada. Is that correct?
JOSEPH: Oh, wow! Thatís very interesting. Can you give me his essence name, please? (Pause)
ELIAS: Essence name, Uerene, U-E-R-E-N-E (your EEN).
JOSEPH: Thank you. Elias, some sessions back we had discussions on my intent. I gave you my impressions, and you described my intent in your words. You also tell us that our intent shows over our entire lives. The observations that go with my impression of my intent came in just the past two years, and Iím having trouble seeing my intent in earlier times. To review, I noticed that many things around me improve. I noted that in that earlier session and you said Iím sending my energy in a unique manner, or something similar to that Ė I donít remember the exact words but I can look it up later. Anyway, I donít see this improvement or any kind of sign of my intent earlier. Do you want to make any comment on that, please?
ELIAS: Let me clarify that your intent is a general direction.
Now; you incorporate specific experiences in more specific avenues of exploration in relation to your intent. But your experiences may move in many, many different types of expressions, and you may view them as positive or negative. You may also view them as comfortable or uncomfortable, and this is not to say that they are not movements in conjunction with your intent.
JOSEPH: In other words, I might just be missing them because Iím looking only for certain things I consider positive or comfortable.
ELIAS: And also that you are attempting to view merely experiences that you may directly associate with your identification of your intent. But as I have stated, your intent is a general direction that you choose within one focus. Throughout that focus, you choose specific experiences in many, many different types of expressions, but they shall all be associated in some manner with the general theme.
JOSEPH: Would it make any sense if I got a couple of examples of expressions of my intent from very early in my life, say, from my early twenties, perhaps?
ELIAS: Offer your experiences.
JOSEPH: (Laughs) Well, my life was pretty miserable, and I had great trouble getting going. Thatís all I can remember from that early period. In Ď65, I finally managed to get a full time job after being on my own, struggling quite a bit for several years. Also around that time, going on 21, I started the gay life then. I donít know what else to say, except am I on the right track at all?
ELIAS: Now; in this observation, regardless of your association of negativity, what do you offer to yourself in information which moves in conjunction with the expression of your intent? How do you view that these experiences have been beneficial, regardless of whether they are comfortable?
JOSEPH: I think I see your point. Iím just having a hard time putting words to it. Obviously youíre saying I was creating my life, but what about if Iím creating something outside myself as opposed to...? Iím creating my own life similarly to the way I was supposedly involved in creating many improvements in recent years in a company I worked for. I donít see the creation outside of myself in those early years.
ELIAS: It matters not, my friend, for this does not negate that you continue to be creating experiences that move in alignment with your intent. What you are attempting to view or offer to yourself is an expression of validation of the movement of your intent merely in association with experiences that you deem to be positive. Many times individuals generate challenging or conflicting experiences in association with the direction of their intent, for within your physical dimension many times this type of movement is more motivating in your explorations.
JOSEPH: Elias, youíve given me quite a bit to ponder. Itís very deep, and I need to think about that more. Thank you very much for that. Shall we go on, then?
A long time ago and several sessions back, or between sessions, I had something like an impression or a stray thought that came to my mind. Somehow or another a memory came back to me of a holy nun who taught me my catechism when I was a little boy. Her name was Sister Juliana. The thought that went through my mind was boy, your teaching is a switch, as though she is a focus of you! She probably was one of those essences whoís teaching, and youíre very different. I just wanted you to comment on that in whatever way you want to, please.
ELIAS: And your inquiry is in relation to...?
JOSEPH: Is there any connection between Sister Juliana and you, or is it just the way my mind was creating something, or what?
ELIAS: A familiarity in energy expression.
JOSEPH: Thatís vague. I donít quite know what you mean by that. I do have some concept or comprehension, but if you have anything more...?
ELIAS: The energy expressions are similar. This is not the same essence. But the familiarity of the energy expressions between...
JOSEPH: Okay, weíve covered that well enough. Thank you, Elias.
Some time back in an earlier session, there was something else I didnít quite understand or didnít have you clarify. You made the comment that I do engage activities that are contrary to my orientation of soft and my families and my intent. I never figured out what those might be. Is there any significance in elaborating on that? I would be interested if you feel like it. If you want to pass, thatís fine. Am I making sense to you?
ELIAS: Yes. At times you do generate certain expressions that create more of a thickness in your movement in relation to your orientation. In this...
JOSEPH: Can you give me examples?
ELIAS: You restrict your interactive-ness outwardly at times. At times you also restrict your flow of energy in a natural expression inwardly, for you view yourself to be isolating of yourself at times, and within your objective expression or assessment you view those time frameworks to be a time in which you are expressing energy inwardly, and you are not necessarily.
JOSEPH: What comes to mind is a lot of times I tend to keep to myself and try to stay away from people. Is that what...?
ELIAS: Partially, yes. In time frameworks in which you view yourself to be isolating of yourself, you express to yourself that you are incorporating that time framework to be inwardly focusing. But in actuality you are not focusing your attention inwardly. You are not paying attention to the inner expressions.
JOSEPH: I sure wish I could figure out how to do that. Maybe send me energy and help me understand that, please.
ELIAS: Very well.
JOSEPH: There were several instances where I got strong emotions. You keep telling us over and over that... I have a session right in front of me where youíre telling someone that theyíre not reacting with emotion, that theyíre communicating with emotion.
There were two particular things that I want you to elaborate or explain to me. One is when I got all that strong emotion, crying, when I was taking a tour of a church with my friend Warren, maybe twenty years back. I guess that was just a focus coming over me. A week later it was lost. I was getting an impression of that, right? Is there any more to it than that?
ELIAS: Yes, I shall validate your impression. I shall also express to you that the communication in association with the signal in this emotion was an expression to yourself concerning the subject of death and the association of separation, which is expressed in relation to that subject matter and your association with that expression of separation.
JOSEPH: The other was a tremendous crying jag I experienced at work. It followed the early evening before that when I got an impression of being Lewis of the Lewis and Clark expedition. That didnít cause the reaction. I didnít get a lot of grief when I got the focus, but when I thought about Sacagawea I got all the grief. Iím curious as to what that was communicating to me. Would you please express on that?
ELIAS: This is a different expression, in actuality. For in that experience, I may express to you that you were generating a tremendous tension and restriction of your energy. In this, as a release of that energy, you generated this physical action of weeping.
JOSEPH: Why would I have such a strong tension that I would need to release that? What is the underlying basis of that?
ELIAS: An association of discounting of yourself in relation to an expression of guilt.
ELIAS: Yes, in judgment of some choices of experiences and expressions that were incorporated in that focus, which in this focus you would be expressing judgment of were you to be generating some of those experiences now.
JOSEPH: I see. So I did something very, very bad when I was Meriwether Lewis, and if I were doing it now I would feel horribly guilty doing it.
JOSEPH: I got you this time, Elias!
I noticed that many of my focuses have gone in for extremes of experiences, but Iíve only scratched the surface of my focuses. Iím wondering if Iím connecting with the ones that are so extreme because of something in me in this focus, or does Dainel want to experience to the fullest extent both ends more than the center?
ELIAS: Not necessarily, but you do draw those types of associations to yourself, for you allow yourself to view certain focuses for those particular extremes reflect what you associate with in this focus. You view yourself many times in this focus to be generating extremes.
JOSEPH: Thatís certainly true! So itís just all part of me, in other words, in this focus?
JOSEPH: That makes lots of sense.
When I was on my job at Marshall Fields, I had such a strong feeling of connecting the department manager, who was named Bob, with a man named John, who was a close friend of my friend Warren. I donít know if there was some strange energy similarity, like what you mentioned with you and Sister Juliana, or were John and Bob an expression of the same essence?
ELIAS: No, they are not an expression of the same essence, but I may validate with you that they do both incorporate many focuses together.
JOSEPH: Oh, really? Wow! Is that what Iím picking up?
ELIAS: Yes, this is the association that you are recognizing in relation to these two individuals.
JOSEPH: Very interesting. (Pause)
I wonder if I got focuses of President Bush. I wasnít intending to. I was sort of playing around and I thought that Bush could be this, that and the other thing. Those were impressions of a farmer, a rancher in South America, a governor, a chieftain of a primitive tribe, and an executive in a corporation. Does he have focuses in all those places, or is my mind just playing with that?
ELIAS: Yes, you are correct.
JOSEPH: I guess I have time to ask you... Oh, I know what I wanted to ask you. First of all, I started playing at Peopleís Church. That was a big change and addition to my life. That occurred Sunday, October 31, 1999, and the next day I had an appointment to talk to you for the first time. I had just found out about you from George maybe a few weeks before that. Gosh, it seems strange that those two things were on back-to-back days. I donít have any really question, except is there some connection that Iím missing which you can describe?
ELIAS: What is your association in curiosity of?
JOSEPH: First of all, Iím not into religion. I started going to the church because I was invited to play in it, so I could decide whether I liked the situation or not. But those ideas or expressions of the church are not appealing to me at all. They are things from the past that I just want to drop and forget about. Iím really not interested in hearing them over and over. Iím going on to new things, ideas that you present. It just seems strange that I got those two things started at the same time. Am I asking any kind of a question there?
ELIAS: I am understanding. This may be the presentment to yourself in your movement of incorporating new experiences to offer yourself different information and moving into new expressions in association with this shift in consciousness and allowing yourself to recognize religious beliefs, but also allowing yourself to choose other expressions and incorporate the direction that you want in relation to this shift in consciousness. In a manner of speaking, it is merely objective imagery in association with widening your awareness.
JOSEPH: I have certainly noticed a widening of awareness even while Iím here hearing repeats of things. I guess itís just something you go for and just accept, right?
ELIAS: The acceptance is significant.
JOSEPH: All right, Elias. Thank you.
I think I have time to ask the question I started out earlier mentioning that I had. I was wondering if many of my focuses that I had gotten were directing or observing. The widow in Canada Ė directing or observing?
JOSEPH: The heretic during the Inquisition?
JOSEPH: Bernieís sister in Prague?
JOSEPH: Junior Sandeen?
ELIAS: Partially observing.
JOSEPH: A beggar in London who fell in the well?
JOSEPH: The young lady in Greece, the one we referred to earlier?
JOSEPH: How about the focus of the black American slave, whom I associated with Curtis in this life, where he was the female and I was the male?
JOSEPH: The Egyptian astrologer?
JOSEPH: What about the father in London? Remember we had a discussion and I had an impression that one situation in this life I rejected my father, and in the other situation I was the father and I rejected my son?
JOSEPH: I think I have only one main question left for you. Let me ask you some other quick questions. Iím intrigued by the composer Joseph Hayden and his obscure brother Michael. Is there any connection between Dainel and those composers? Any reason why I should be intrigued by them? Itís the brother Michael that stands out.
ELIAS: I may express to you, you do incorporate a focus in that time framework which expresses a tremendous admiration.
JOSEPH: Was I in music? Was I a composer or a pianist or something like that?
ELIAS: You incorporate the creativity of expression in relation to the instrument of the piano but did not incorporate the action of playing within an orchestra.
JOSEPH: Was I closer to Joseph Hayden or Michael Hayden?
ELIAS: The brother.
JOSEPH: I have a strange question to ask you. Did my money go into another dimension? Do I need to go into detail about this?
ELIAS: (Laughs) As to whether you have created its disappearance or not? I am understanding. Yes...
JOSEPH: I donít want to let the world know about this, but Iíve got a burning question. It doesnít seem like anybody stole it; it just looks like it disappeared.
ELIAS: I am understanding.
JOSEPH: Could you say something to enlighten me and put my mind at ease about this?
ELIAS: You HAVE created it to be disappearing, and this...
JOSEPH: In another dimension, or is it somewhere on this planet in someone elseís pocket?
ELIAS: No. Within a crossing of dimensions, yes.
JOSEPH: Repeat that. I want to hear that again.
ELIAS: Within a crossing of dimensions.
JOSEPH: Was that caused by all that tremendous energy and the conflict I was experiencing with my partner then, plus my beliefs and my expectations and anxieties?
ELIAS: Yes, and to gain your attention.
JOSEPH: So itís really true that my partnerís totally honest, and Iím just creating this problem for myself.
ELIAS: (Chuckles) And offering yourself an opportunity to examine your expressions of suspicion and what motivates those expressions.
JOSEPH: I know that I personally have experienced this in the past and that clings to a person. Do you have any recommendation on how to deal with that?
ELIAS: Recognize that past experiences are not absolute and therefore are not necessarily generated in the present in what appears to you to be similar situations. Each moment incorporates choice.
JOSEPH: Thank you for that. I guess I have about five minutes. I got a choice if you want to speak or put the ball back in my corner. The choices Iíll give you for a few more minutesí discussion is either you might tell me a few things about my relationship with Myron, or maybe you want to talk about my signature which intrigues me and concerned a lot of people, who think Iím on something. Do you want to pick a choice from those topics for a few minutes?
ELIAS: You may choose.
JOSEPH: Tell me about my signature.
JOSEPH: My signature seems like just two points and a line, like a modified version of a house. Itís very light, and people think that I didnít even sign anything. I thought it might be an expression of my Gramada, my interior nature, the fact that I simplify and have very few things in life. Is there something else that Iím missing?
ELIAS: This is an accurate assessment, for this is the manner in which you express an identification of yourself. As you view throughout your years, it has altered and has become much more simplified, which is a reflection of what you are generating within your focus, that as you continue...
JOSEPH: ...as I continue, my signature will disappear, right? (Elias laughs)
Moving on from the signature, just with the description of that, is there something you want to comment about expanding my expression or modifying it? Do you want to point something out to me in recommendation?
ELIAS: I may be acknowledging of you, my friend, for you are allowing yourself much more of an expression of ease, although you do continue to generate expressions of drama and you do incorporate some interactions that you generate more difficulty than is necessary. (Joseph laughs) I may express to you that at times you generate a forcefulness within your energy in relation to other individuals that at times...
JOSEPH: It just seems to pop out and I canít seem to control that.
ELIAS: Ah, but you can! It is not a situation of control, but of moving your attention to you. For in these time frameworks, you are projecting your attention to other individuals and not paying attention to you and your associations. Therefore, you may generate much more of an ease in your interactions, especially in association to individuals that you view to be in close relationship with.
JOSEPH: I keep hearing Myron in there, because thatís who I most interact with these days!
JOSEPH: I would say that Iím moving closer to my intent in my expression of my orientation in having this man in my life, right?
JOSEPH: The time is up and weíve answered everything. This is really amazing. This is the first time Iíve finally been able to get through all the questions that I really wanted to talk to you about, Elias. Is there a reason for that? Are we ending something here? Gosh, I hope not!
ELIAS: (Laughs) No, my friend, you have merely allowed yourself to be accomplishing what you wanted.
JOSEPH: Thank you very much, Elias, and good-bye. Give me your energy to help me and be with me.
ELIAS: And so I shall. In great affection to you, my friend, au revoir.
Elias departs at 3:12 PM.
© 2002 Mary Ennis, All Rights Reserved.