Thursday, October 03, 2002
ďMore on Observing EssencesĒ
ďInterpreting Physical SymptomsĒ
ďAttention and Physical AffectingnessesĒ
Participants: Mary (Michael) and Daryl (Ashrah).
Elias arrives at 4:16 PM. (Arrival time is 24 seconds.)
ELIAS: Good afternoon!
DARYL: Hi! Itís been a while.
ELIAS: Quite! (Chuckles)
DARYL: So, I have a lot of questions. I guess I want to check impressions on focuses and also talk to you some about Ė I guess I consider it my language to myself in terms of physical symptoms and things like that.
ELIAS: Very well.
DARYL: The first thing, Iím not sure if this is someone I merged with or if itís a focus, but last spring my attention started going to serial killers and kind of wondering what their reality was like, I guess. Anyway, I started getting information, some of it through my reality objectively, and also I started having my breathing stuff again and having trouble sleeping. I know that some of the stuff in the dream state was connected with that.
I also had dreams related to it that I did remember that involved me going back to a former workplace and thinking that Iíd been killing people, and one about a mental hospital and another about crime scenes. I also got information when I was in the objective state. So I want to find out if that was someone I was merging with or if it was a focus of mine. (Pause)
ELIAS: Another focus.
DARYL: It did seem like we were having bleed-through. Is he alive now?
ELIAS: No longer, no.
DARYL: I also got the name Nicholas. Is that involved?
DARYL: Is that his name?
DARYL: Wow. He was very much into knives?
ELIAS: Yes, you are correct.
DARYL: Could you give me a time frame when he was alive?
ELIAS: Late 1800s, early 1900s.
DARYL: Golly. So he wasnít in the United States; I imagine he was in Europe somewhere?
DARYL: Wow. ĎCause I think of serial killers as being more modern. But he did kill a number of women, right?
DARYL: Boy, this kind of blows my mind! (Elias chuckles) I know that Iíve been trying to see what you call the shadow or whatever, the dark side. So thatís why I brought up that focus at this time?
DARYL: Now, one thing that confused me was one evening when I was sitting around, I felt like I was in communication with him and that he was aware of me being in communication.
ELIAS: You are correct. This is not to say that the individual is continuously aware of you. But...
DARYL: But that night he was.
ELIAS: For a moment, yes.
DARYL: Now, I also got the feeling that he knew about the shift in consciousness.
ELIAS: In limited capacity, yes.
DARYL: Is this more subjective on his part rather than objective?
ELIAS: The awareness of this shift in consciousness, yes.
DARYL: I feel like he was also aware that the shift was giving me a different attitude towards him than he was used to.
DARYL: Wow. So that really was all accurate. Did he kill a lot of people, like a dozen or more?
DARYL: Was he found out to be a murderer?
DARYL: So he got away with everything.
ELIAS: Not necessarily, but was not convicted for those crimes, so to speak.
DARYL: (Laughs) So, he was a busy guy, huh?
ELIAS: (Laughs) Quite active!
DARYL: Well, thatís really interesting. The veils are dropping. (Elias chuckles) Although I did find that scary, but...
On a kind of related note, there was somebody Iíve seen a couple of news programs on, and her first name is Patricia. I felt close to her even though sheís not someone Iíve met or anything. I wondered if I have some connection with her, either that sheís another focus of someone I know now or if I have a focus who knows her. (Pause)
ELIAS: Your first impression is correct.
DARYL: Would she be a focus of Oona?
DARYL: Oh boy, Iím getting good at this!
ELIAS: Not the individual, but one that knows the individual.
DARYL: Okay, so a focus of Oona knows her.
DARYL: And knows her in this focus as Patricia.
DARYL: So thatís somebody that maybe Oona could tune in on herself and find out more.
DARYL: Now, in that case, I felt close to this woman Patricia. Was that me picking up on Oonaís stuff again?
DARYL: Now, the next thing is that I saw a movie that was about Dorothy Parker and the Algonquin Round Table. I didnít watch a lot of it, but that night I dreamed that I have a focus whoís a member of the Round Table. (Elias chuckles) Is that correct?
ELIAS: Yes, you are correct.
DARYL: At that time I also had my attention drawn to a poet I like very much called Edna St. Vincent Millay. When I investigated her, she was in New York and worked for the same magazine as the people on the Algonquin Round Table, but as far as I could tell she had no interaction with them. But I did notice that within the group of the Algonquin Round Table there is woman named Edna, and I wondered if that Edna Ė Edna Ferber Ė is the focus of mine?
DARYL: So, I have at least two writers in my mix.
DARYL: Okay, Ďcause Iím very much into words, I know that.
ELIAS: I am aware.
DARYL: Oh, you are. Okay! (Both laugh) The next one actually involves words also. I woke up one morning with the name Adolph Green spelled out in my head, which is how I do focuses. I had an impression that he was a painter, but when I looked him up on the internet I found that he writes screenplays and song lyrics. Is he a focus of mine?
DARYL: And does he hold the orientation of soft?
DARYL: Does he have an awareness of the shift in consciousness right now?
DARYL: He must have decided to stick around for a while to see it, Ďcause heís getting up there in years.
ELIAS: (Laughs) There is a partial awareness, yes.
DARYL: Heís also into words, so that seems to be a theme!
My next impression, Iíd been getting bleed-through about an artist, a painter, and I asked for information about that and I saw the name Marc Chagall spelled out. Is Marc Chagall one of my focuses?
DARYL: Then why did I get his name?
ELIAS: You incorporate a focus as an observing essence [who] is what you term to be a friend of that individual.
DARYL: So Iím an observing essence of a friend of his.
DARYL: Now, I do know that I have a focus in Russia that matches the early part of his life. Is that the one whoís Ė oh, wait a minute, that wouldnít be an observing essence, though. Never mind. So I just have knowledge of him through friendship, being an observing essence of his friend.
ELIAS: Yes. Do not discount the role of the observing essence, for many times this position, so to speak, is equally as affecting and recognizable as the directing essence.
DARYL: I had a question thatís come up about observing essences, and since this is the first one Iíve come across... The stuff I was getting about the artist was sensory based, like light and dealing with canvas. Since Iíve learned more about how we each create our own reality through our perception Ė I donít know if this has a simple answer Ė but when someone is an observing essence, do they get the sensory experience of the directing essence?
ELIAS: Yes. You shall incorporate the same experience physically and nonphysically as the essence that is the directing essence. Therefore, you may also incorporate quite similar bleed-through from a focus in which you are an observing essence, as you may being the directing essence, for you are...
DARYL: So that isnít a way to tell them apart, then.
DARYL: What is a way to tell? Is there a simple way to go this is observing or this is a focus?
ELIAS: It is dependent upon the action of the observing essence. If the observing essence is enacting that experience partially, this may be recognized, for the attention shall be focused merely upon partial experiences of the individualís focus, and there shall be incorporated certain memory but not entire memory.
Now; this is not always the situation, for at times essences choose to be the observing essence throughout the entirety of a focus, and therefore it may be much more challenging to differentiate between an observing essence position and the directing essence position, for your experience shall be the same Ė and this is the point. This is the reason that essences choose to be observing essences, for this offers them the experience of the focus without actually engaging another focus of their essence.
DARYL: Also, I know I have at least one focus in 19th century London at the time that John Merrick was there, and I had the impression that that focus knows John Merrick, or one of my focuses does.
DARYL: Now, we previously spoke of one who had an interaction with Oscar. Is that the same focus that knows John Merrick?
ELIAS: Yes Ė not intimately.
DARYL: But has met him personally?
DARYL: I just was looking at the dates on this serial killer. This isnít Jack the Ripper that weíre talking about?
DARYL: Because I just noticed the dates. Whew! (Elias chuckles)
Now, another thing that I wanted to check on with you, which was kind of a different thing, I was arranging to start transcribing the session tapes, and I didnít know it but at the same time Sandel was making arrangements to start transcribing. I got an email that announced that both of us were starting to transcribe.
At the moment that I read that she was also starting, I felt George start chuckling at the idea of the two of us doing that together. (1) It was weird to me, because theoretically George doesnít know me or the focus of Fran, but it felt like her. Was that actually her somehow understanding what was going on, or was it my interpretation of something? Do you understand what I mean?
ELIAS: Yes, I am understanding. In a manner of speaking, it is both. It is the energy of that focus, which is you, and it also is your translation of that energy of that focus. It is an acknowledging and validating expression of energy of that focus, for it is you.
DARYL: It changed my relationship with that focus; I havenít felt the same since then. Itís like thereís less of a veil.
DARYL: Now I wanted to also ask you something to do with two of the chapter focuses in what we call the shift book, because Iíve found thereís some confusion regarding what I think of as the Scotland focus and the British Isles focus.
Iíve identified a medieval Scotland focus of mine named William. Iíve also read about you having one named Brian in the 1300s in Scotland. That, I believe, is the same focus as the chapter focus you described as ďrelatively uneventfulĒ compared to the other chapters. Is my William in Scotland one of my chapter focuses for the shift book?
DARYL: Is that also the same chapter you were talking about with Brian and being uneventful?
DARYL: When you talk about the sorcerer chapter, my understanding was that that was separate and earlier, although Iíve also seen that referred to as Scotland rather than just the British Isles. But the sorcerer chapter is separate from the one we just discussed in Scotland?
DARYL: So I guess Iím confused. Is the medieval one with William in Scotland, that IS the sorcerer one?
DARYL: Now is there another chapter in the British Isles, then?
DARYL: Because I thought one was in Scotland and one was in the British Isles.
DARYL: So the British Isles one, so-called, is a chapter focus but it does not involve sorcerers?
ELIAS: Ah, not necessarily. Ha ha ha!
DARYL: Could you help me out of my confusion here?
ELIAS: (Laughs) Both incorporate sorcerers.
DARYL: Well, that would cause some confusion! (Elias chuckles) So, if youíre discussing sorcerers with someone, it could be either Scotland or British Isles.
DARYL: But theyíre both medieval.
DARYL: So far I havenít discovered my focus in what you call the British Isles sorcerer one.
DARYL: Well, that will give me something to work on. I wouldnít think William would hang around with sorcerers, Ďcause he was pretty darn scared of having strange beliefs.
ELIAS: In your terms, I may express to you he was not actually ďhanging around.Ē (Laughs)
DARYL: But he did have some kind of objective interaction or something?
DARYL: But he wasnít participating? (Elias laughs)
DARYL: I think that would just freak him out, actually, because heís the one that saw his father killed for heresy.
Now weíre gonna move on to physical things. I have a lot of sinus congestion that Iíve always associated with the energy block; itís in the same place. Iím still working on unblocking the energy block, taking it down, and Iíve noticed that a lot of times Ė the breathing stuff has cleared up to a great degree Ė but it seems like in its place Iím having a sore throat and feeling like I have a fever. Is that all connected with the energy block? (Pause)
ELIAS: Partially, yes.
DARYL: Is there anything else going on with the sore throat and the feverish feeling that Iím not noticing or Iím trying to tell myself something?
ELIAS: This is also associated with this energy center and communication, and the feverish symptoms that you are generating are associated with restricted energy.
DARYL: Now, I know Iím also going through a larger thing about expression of self. Would this be a component of that?
DARYL: I also felt like me finding out about those focuses, the writers, that had to do with me learning about expression of self also.
DARYL: Youíll probably find this funny. About ten days ago I got a lot of communication from myself, where I felt the strength and depth of my desire to express self. Within an hour or two of that, my toilet started doing another weird thing, where itís actually overflowing water. (Elias grins) Itís not coming out of the toilet but itís trying to put too much water through. Is that a direct physical expression of what I got about my desire to express self?
DARYL: You didnít even laugh! (Elias laughs) Usually you like those toilet things.
ELIAS: I may express to you, my friend, as you were expressing this explanation to myself I WAS incorporating the action of smiling. Ha ha ha!
DARYL: (Laughs) I also had the feeling, in the past few days especially, that Iím doing what I would call experimenting with the energy block in terms of unblocking it part way.
ELIAS: And how do you assess your successfulness?
DARYL: I think Iím doing well, but I think Iím kind of testing the waters (Elias chuckles), so to speak. (Laughing) Especially since I donít want to blow up my toilet!
ELIAS: Ha ha ha! I am understanding.
DARYL: Is that going on? Because it feels really good; at some points itís so sweet.
ELIAS: Yes. And...
DARYL: I feel like Iím just at the very beginning of allowing myself to be.
ELIAS: Yes, and this may also be quite affecting of your physical expressions of symptoms.
DARYL: Iíve felt in general, Iíve used this term that Iím courting myself, in terms of presenting more of myself to get to know myself better and also creating situations that lead to greater trusting of myself.
DARYL: Itís really a neat experience. I expect itís gonna continue for a while. (Elias chuckles) Anyway, Iím enjoying it.
The next physical symptom, we previously discussed the skin on my fingertips and how that was related to nervousness, and a while back I had a time where that spread more throughout my hands but especially on my right palm, where it got pretty severe. Was that all an expression of nervousness, the same as the fingertips?
ELIAS: Yes, and tension.
DARYL: I also noticed that made it painful to grip and that I was having trouble with my grip at that time, like opening jars and stuff. Was there some kind of imagery about getting a grip on things going on, too?
ELIAS: In a manner of speaking, yes. This is your imagery that you are presenting to yourself, and you are also offering yourself this imagery in relation to tension.
DARYL: I also notice that itís really flared up. It was relatively free until about a week ago. Is that partially in anticipation of the session?
DARYL: The next thing, last year I discussed having these brief hot spells with you. To me last year, that was pointing out that I was discounting my ability to create what I want. I think this year is similar, except that I felt it was more geared to noticing automatic responses which limit my freedom.
ELIAS: You are correct, Ashrah.
DARYL: Okay! Itís nice to be able to understand myself somewhat! (Elias laughs) Sometimes I got that when I woke up rather than when I was already awake, and once in those times I felt like it was telling me that I was missing a message that I was sending myself. Was that just one occasion or was there something larger going on there?
ELIAS: This was an example, one occasion to offer you an example to be paying attention and noticing.
DARYL: Also, on the bottom of my left foot Iíve got something strange kind of happening, like on the ball of my foot, thatís very mild. I wondered if that had to do with discomfort of movement.
ELIAS: Partially, but also partially in association with slowing.
DARYL: To slow my movement?
DARYL: Is that because Iím trying to go too fast?
ELIAS: Attempting to push yourself at times and force energy.
DARYL: Although thatís something that in the past week or so Iíve also become more aware of and how to not do that quite so much.
ELIAS: Correct, I am understanding. This is an indication of tension that you are generating and forcing energy, and in noticing this you may alter your expression and also alleviate the physical symptom.
DARYL: So if I just relax then... I am learning how to relax at a different level, I think, that involves ceasing struggling and pushing. Iím not saying I do it for very long, but itís different than Iíve ever been able to relax before.
ELIAS: Yes, I am understanding.
DARYL: Now, Iíve had stiffness on and off too, especially a few months ago. Was that an example to me of being rigid in my beliefs?
ELIAS: Yes. I am acknowledging of you that you are paying attention and are offering yourself accurate information in your translations of what you are creating.
DARYL: Well, thank you. I also realized that sometimes I was perfectly aware that I was giving myself information, but I didnít happen to like the information so Iíd pretend that I wasnít getting it. (Elias laughs) Thatís really helped me clear things up too, to just listen to what it is and stop feeling so threatened by it.
Another thing I had recently was the skin on my lips got strange for a couple of weeks just in the center part, and to me that also was part of my expression-of-self thing that Iím going through.
ELIAS: Yes, examining different expressions that you may be creating and how they may associate to different behaviors or [to] different expressions of feelings or [to] expressions of tension that you may be generating in the moment, and also what you may or may not be recognizing or noticing in what you are actually doing in the moment.
DARYL: Iím not clear on that last one.
ELIAS: You offer to yourself these physical expressions to gain your attention, which sparks your investigation of yourself, and in this offers you the opportunity to examine what you may be noticing or what you may NOT be noticing in the moment in relation to what you are actually doing, other than the physical expression.
DARYL: So that would again be maybe a message that Iím not paying attention to?
ELIAS: Partially, for you are partially paying attention.
DARYL: I also have had a recurrence of my eyes feeling tired like we previously discussed, which meant my attention was outside of self. Is that still what it means?
ELIAS: No. For you have generated movement and therefore you have also altered certain expressions of your direction, and you have widened your awareness, and you have offered yourself more familiarity with yourself. Therefore, thusly, you have shifted, and in this your expression concerning vision or your actual physical eyes is more associated with allowance of connection and beginning to incorporate the recognition of or the experience of other dimensional focuses, for you incorporate many other dimensional focuses. Therefore, this is a significant aspect of yourself.
DARYL: I thought a lot of me was in other dimensions, since thereís not a lot of focuses here.
DARYL: Does that mean when I feel that, that there is some sort of bleed-through or an opportunity for bleed-through?
ELIAS: Yes, and what you merely may incorporate is to be relaxing and allowing.
DARYL: And the bleed-through isnít necessarily visual.
DARYL: Well, thatís something to be playing around with. (Elias chuckles) I also wanted to check with you about my interaction with some of the other facilitating essence. I wanted to know if the tingling and other sensations in my left arm is Tomkin. (Pause)
DARYL: And I donít have this much, but I feel like very tiny drops of water being spritzed on me. I wondered if that was Patel.
ELIAS: Yes, although I may express to you, prepare yourself, this is quite a playful essence. (Chuckles)
DARYL: Yeah? (Elias laughs) So there might be other things going to happen?
ELIAS: And quite inventive in his interaction! Ha ha ha!
DARYL: So there might be more to come there?
ELIAS: Perhaps, and he may be quite the jokester at times. (Laughs)
DARYL: Would that include practical jokes?
ELIAS: In a manner of speaking.
DARYL: Now, the other one is different than the others. It has to do with Rose, I think. Part of it was I felt like she was interacting with me through my miniature roses, and the night before one of my canceled sessions, a baby bird appeared in my back yard and spent the night here. Also, a couple of times I felt like she was touching the left side of my face.
DARYL: And those are all Rose?
DARYL: I havenít known Ayla to do anything yet. Has she not done anything?
DARYL: I also wanted to verify that I have felt that the essence Connor has been hanging around with me somewhat.
DARYL: Thatís what I meant.
DARYL: I felt it to be the essence of Connor rather than the focus of Connor that I know.
DARYL: He seems to have a playful side also. (Elias chuckles)
Letís see. A couple years ago we discussed my signature color being Ashley blue, which I understood to be my focus color. Is that correct that itís the focus color? (Pause)
ELIAS: Focus color, yes.
DARYL: In terms of an essence color, I was wondering if that is a deep shade of rose.
ELIAS: Yes, you are correct Ė almost mauve.
DARYL: I was gonna say it has a little bit of blue in it.
DARYL: I found myself buying roses that were anywhere in a certain range of color that is in there.
Also, for some reason Iíve been wondering what essences I am fragmented from, if you were open to telling me that.
ELIAS: Very well, one moment. (Pause) Essence Rici, R-I-C-I (REE see), essence Fown, F-O-W-N (FAWN), essence Daniel, essence Ishil, I-S-H-I-L (EE shell).
DARYL: So thereís four of them.
ELIAS: Correct. I may express to you...
DARYL: Thereís a writer/director in Hollywood these days named Cameron Crowe, and I saw his pictures and Iíve also seen some of his work. He really reminds me a lot of Oscar. I know that you donít have any focuses that are alive presently, but I wondered if he is somehow related to you, the focus of Cameron Crowe.
DARYL: All right! He really does look like Oscar when he has his hair long and parted in the middle, and heís a big guy. (Elias chuckles) He also likes to write movies that comment on society.
Also, around the time I got that, I also kept bringing the name Cameron in. I wasnít sure if it was related to that or if I have a focus named Cameron.
DARYL: Is my focus named Cameron a future focus?
DARYL: I want to check a few impressions of Oona, who sends her greetings, by the way.
ELIAS: And you may offer my greetings also.
DARYL: She had an impression that in my World War II focus, where I am a father and I have a son killed by the Nazis, that the son is a focus of her.
DARYL: All right! She also was investigating the focus we previously talked about that I had seen of an SS officer. She wanted to know if that is Reinhard Heydrich.
ELIAS: No, but I may express that this is an observing essence focus.
DARYL: She is an observing essence of him?
DARYL: So sheís got someone else still to identify thatís in the same area?
DARYL: She also wanted to know if Oliver Stone is a focus of hers.
ELIAS: Observing essence.
DARYL: Milde also sends greetings, and I have a question for her.
ELIAS: Very well, and you may offer my greetings also.
DARYL: Okay, thank you. She would like to know the number of focuses she has in this dimension. Her impression was that she has a lot, like 2000.
ELIAS: One thousand nine hundred twenty-one.
DARYL: And how many of those would be similar tone? (Pause)
ELIAS: Three hundred forty-nine.
DARYL: Thank you very much for that, and Iíll pass that along to those two, including your greetings.
ELIAS: You are quite welcome.
DARYL: Youíve talked about themes that run throughout all the focuses of a particular person, and Iíve tried to figure out my theme Ė although after talking to you today it seems like perhaps words might come in there. But the thing that I was wondering about was if I have a theme of gender blending. (Pause)
ELIAS: In the capacity of language, yes, incorporating language as a tool.
DARYL: Hmm. I havenít read enough of those authors to really know how that applies, although I know George with her life was out of the ordinary, and I gather Edna Ferber was too...
DARYL: ...although I donít know much about her. I also had the sense about Adolph that heís not your typical macho man. (Elias laughs) Iíve looked through my focuses and I do feel... I wasnít thinking in terms of language, but I feel that they tend to kind of go towards the middle rather than going towards either end of masculinity or femininity.
ELIAS: For the most part you are correct.
DARYL: Could you say a little more about ďin the capacity of language?Ē
ELIAS: As I have stated, this is the tool that is incorporated Ė not necessarily limited to merely writing, but also incorporating writing Ė but engaging language as the tool to be expressing the theme of blending in association with gender.
DARYL: We have about ten minutes left, and Iím interested in two things Ė one is my language to self and getting to know myself better, anything you might want to say helpful in that area. Iím also interested in the idea that I know that Iíve created choices or opened choices, and then later I go back and I canít choose that choice at that particular time, and then later it will open up again. So Iím wondering about how we access choice and what determines that, if you know what I mean by that. So, if you would care to speak to either or both of those topics briefly I would appreciate it.
ELIAS: And what specifically is your confusion concerning choice and what you identify as your inability to be choosing certain expressions in certain moments?
DARYL: I feel like the choice kind of goes back to being intellectual rather than something I can really grasp onto. The last session we talked about how Iíd opened choices, and I felt like it wasnít that I wasnít aware of the choices, but they had no reality in terms of me being able to actually choose them and implement them.
ELIAS: Offer example.
DARYL: Like with how I deal with fear Ė I can either deal with it, in your terms, more with ease or more with struggle and practically be unable to breathe. And when I go to a state where Iím dealing with fear by being unable to breathe, it seems impossible to me to choose the other choice, another way of dealing with the fear besides what Iím doing at that moment.
ELIAS: Very well.
Now; this also is a matter of attention.
Now; your attention and how it is directed is quite influencing of your choices. In this, how you are directing your attention and what you are concentrating upon may be influencing of what you actually choose, especially in association with physical manifestations in association with physical body affectingness. For you yourself and many other individuals lock your attention upon what you are actually physically manifesting and do not allow a mobility of your attention, and therefore you continue to choose to create the physical affectingness.
In the expression of fear, if that fear is expressed in a strength that you perceive it to be immobilizing, you shall affix your attention in the expression of the fear and not allow yourself the mobility to move your attention in other directions and therefore choose different expressions, for you continue to choose to pay attention to the fear and therefore continue to choose to manifest it.
Your attention is key in association with what you create. Your perception is also key. For in relation to expressions of fear, your perception continues to generate that, being influenced by your belief of threat and that this fear is controlling and is more powerful, as it is perceived to be almost a separated entity from yourself. Therefore, it is viewed as incorporating control of you rather than being you, and more powerful than you rather than generating the perception of the powerfulness of BEING you.
Now; what is also significant in association with this expression is your continuance in attempting to eliminate it and force your energy around it.
Now; for a time framework you and I engaged conversation and moved together to be addressing to this expression of fear in the most efficient manner that would allow you to dissipate some of the intensity and therefore allow you to address more efficiently to this expression that you create. But as I have expressed this day with you, you HAVE shifted my friend; therefore now you may begin in your exploration of yourself, which you are accomplishing quite efficiently, and you are familiarizing yourself with you more and more. Now you may move your attention into the acceptance of these different aspects and expressions of yourself, recognizing that you do incorporate choice and that each expression of yourself, each aspect of yourself is purposeful. It is merely a question of how you are directing it.
In relation to the expression of fear, you have generated a perception that it is almost separate from you and therefore incorporates this ability to control. But NOW move your attention to genuinely recognize that this is merely another aspect of your expressions and therefore also an aspect of your power, and you may choose how you incorporate that power.
Shall you incorporate that power to immobilize yourself and to discount yourself and to express energy outside of yourself into another entity that shall thusly be allowed to control you? Or shall you turn your attention, recognize that this is in actuality an asset that you incorporate? For it IS a strength of energy, and you may incorporate manipulating that energy in whatever manner you choose.
DARYL: Iíve been aware that even if I donít consider that or other aspects of me as a separate entity, I hold things at armís length, so to speak.
ELIAS: Correct. Now allow yourself the acceptance that these are all aspects of yourself, and you may incorporate them and manipulate them in manners that are purposeful and beneficial to you in accomplishing creating what YOU want.
DARYL: I have effectively started doing that from what you say, like Iím beginning a new way of...
DARYL: So in terms of my question about choice, the choice remains there, itís just my ability to turn my attention there.
DARYL: ĎCause I feel like they just disappear. (Laughs)
ELIAS: I am understanding. You incorporate choice continuously, and not choice in expressions of either/or but many, many, many variations and expressions of choice that you merely are not allowing yourself to view, for you attention is affixed in one expression and in a manner of speaking, at times becomes mesmerized with one choice.
DARYL: Yes, or paralyzed as it feels.
Well, our time is up, and I wanted to tell you that I will be in physical proximity with you at the end of the month in the Fresno gathering.
ELIAS: And I shall be anticipating this, my friend.
DARYL: It will be nice to see you then.
ELIAS: And you also. And I shall express my continued encouragement to you, my acknowledgment of your movement, and as always, my tremendous affection, my friend. Until we...
DARYL: I also hold great affection for you and great appreciation of your working with us during the shift.
ELIAS: You are quite welcome. Until we meet again, I express to you fondly, au revoir.
DARYL: Au revoir.
Elias departs at 5:17 PM.
(1) Darylís note: My focus George is the author George Sand, who co-wrote with a focus of Sandel named Jules Sandeau.
© 2002 Mary Ennis, All Rights Reserved.