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Sunday, May 04, 2003

<  Session 1332 (Private/Phone)  >

ďImagery and FocusesĒ


Participants: Mary (Michael), Margot (Giselle), and Howard (Bosht).

Elias arrives at 11:54 AM. (Arrival time is 24 seconds.)

ELIAS: Good morning!

MARGOT: Good morning, Elias! How are you today? As always!

ELIAS: Ha ha ha! Quite!

MARGOT: Iím great! Iím just great today.

ELIAS: Very well!

MARGOT: I donít always stay that way, but I have found that I stay that way if I donít push my energy. You finally got me to believe in that one, Elias, and it really helps!

ELIAS: Ah ha! Wise choice! (Laughs)

MARGOT: Yes. Iím going to start in with a message that I got a couple of weeks ago that I just found very, very strange. I think I understand it and figured it out for myself, but Iím going to run it past you anyway.

I was not really doing anything much and didnít have anything on my mind, and all of a sudden I heard in my mind very distinctly, ďYou have just died.Ē It didnít alarm me or anything like that. But knowing as I do that some folks disengage and take enough of their reality with them that they donít know theyíve died for a while, I thought about that and decided to just watch my reality very closely for a few days and see if I could tell anything different. I did, and it was very interesting from the standpoint that Iíd never watched every detail in my reality like I did. After a week I decided Iím still here.

My impression of the whole thing was that it was just another way I was exploring death. Would that be correct?

ELIAS: Correct, and also a motivation that you offered to yourself to be intensely paying attention to all that you were creating and experiencing and doing within that time framework.

MARGOT: Also, I think you said one time that those that do die and donít understand that theyíve died, their reality begins to seem kind of plastic. I donít know whether that was you that said that or if I came up with that on my own.

ELIAS: In a manner of speaking, you are correct in your association with this terminology, yes. For they begin to recognize that there is no other actual interaction and that no other individuals are creating any expressions that are outside of what the individual expects, for they begin noticing that they are creating all of the imagery themselves without any interaction from any other individual.

MARGOT: I did have a thought that if I wrote emails, which I do write a lot of, that if I was getting answers to that email that I was definitely still here.

ELIAS: Not necessarily.

MARGOT: Oh! That wouldnít be a clue because you would create the email being answered?

ELIAS: Yes. But eventually you would begin to notice that there would be a lack of surprise in the responses and that the responses would be continuously predictable in association with what you perceive in regard to any of the other individuals.

MARGOT: I see. Thank you for that.

ELIAS: You are quite welcome.

MARGOT: It also occurred to me that in this war that is supposed to be over, the intent of going to war, whether itís the military leaders or the soldiers involved, is very similar to my intent, which would be the exploration of death.

ELIAS: Some, not all, for this is dependent upon the individual. This participation may be merely a specific avenue in a temporary time framework of exploring their intent, which may not necessarily be associated with death at all.

MARGOT: Back to what I was talking about right at the first, I said that if I donít push my energy... It has also occurred to me and Iíve had a chance to kind of try it out. Until last week Iíve had no return of the episodes I call ďwhen I thump,Ē when my blood pumps hard and pulses beat. Iíve talked to you a lot about that before. But it seemed to me that I suddenly realized that my objective and subjective do not get out of balance when Iím not pushing my energy. Would that be true?

ELIAS: Yes, you are quite correct.

MARGOT: Thatís what came to me and thatís why I guess Iím really working hard at that.

ELIAS: Which generates much more of an ease, does it not?

MARGOT: Oh, yes! Yes, yes!

ELIAS: And you also accomplish discontinuing worrying. In time frameworks in which you are forcing your energy, you also worry. In this action, you are not merely allowing yourself much more of an ease within your focus and your movement but you also have successfully interrupted that pattern of worrying.

MARGOT: And also the pattern of thinking that I donít have enough time...

ELIAS: Correct.

MARGOT: ...which youíve talked to me about and which Iíve also thought about a great deal. Actually Iím beginning to realize that I do have enough time! (Both laugh) So thank you very much.

There was one day not too long ago when I was feeling so good. I was in the truck, I was going to town and I had errands to do in town. As far as Iím concerned, you were so close to me and I was able to talk to you so well you might have been beside me in the car. I almost offered you a cigarette! (Elias laughs)

At any rate, it was really good and it was a wonderful day. When I came home in the afternoon, I drove by the meadow that we have here and there were seven elk in the meadow, which was very exciting because they donít come at this time of year. They wait until itís hot and then they come. So it was also very strange. Another strange thing about it was that when the elk are in the meadow there are lines of cars parked along the sides of the road in order to look at them, and there were no lines of cars at the side of the road and here we had seven elk in the meadow! That was just so out of the ordinary.

It came to me that I have always thought of the meadow as being a dimensional place, because one time years ago I had gotten myself in a really good space and I saw a bald-headed eagle there, which donít live in our part of the world. Iíve never forgotten that, so ever since then have thought of the meadow as being dimensional or a dimensional window or whatever you might term that. I think when I saw the elk I looked into another dimension. Could you answer that?

ELIAS: Yes, you are correct. I may express to you, I would identify this area as an area of enchantment.

MARGOT: Oh, so we could call it the enchantment dimension Ė or at least I could?

ELIAS: If you are so choosing.

MARGOT: Anjuli has discovered all these dimensions and sheís got cute little names for them. So anyway, I will call it that.

ELIAS: Very well! (Chuckles) For this is an area in which you and other individuals allow yourself to create enchanted imagery.

MARGOT: Great, thank you! Iím so happy to find out about those elk, because I knew I had something wrong there! (Elias laughs)

I have a couple of dreams to ask you about too, Elias. In the first one I was talking to you, only your name was Ashamel or something like that. Have you ever had that name in a focus?

ELIAS: Ashmel, yes.

MARGOT: Itís not Asha, itís Ashmel?

ELIAS: Correct.

MARGOT: This reminded me of something that Iíve been wanting to ask you about for ever so long but actually I havenít dared, so Iím going to dare it now. (Elias laughs)

When I first began going to channels or psychics, the first channel I went to Ė and this was 1985 Ė she used to bring through an energy who was presented to me as an archangel, the archangel Shamawel. I talked to him many times, and he had very much the same kind of energy that I feel in you. So Iím going to dare to ask if you have ever been known as the archangel Shamawel.

ELIAS: No.

MARGOT: Oh, dear! I wanted you to be him so bad, Elias! (Elias laughs)

The other dream that I wanted to talk to you about Iíve had twice. Itís a very strange dream and I hope I can describe it. In each dream Iím driving down the highway and Iím seeing something strange in the road ahead of me. This object is about ten feet wide, maybe a foot tall, and is therefore blocking two lanes of the road. Iím not frightened or anything; Iím just trying to decide how Iím going to get around it. It is a silver and gold or white and gold, very modernistic, very exotic long thing. Itís about a foot or eighteen inches tall, and itís just beautiful with its slender shape. Itís kind of like one of those slim airplanes that kids will make out of paper, and they sail really good because theyíre slim.

Since Iíve had this dream twice and Iím not understanding what sort of symbology this is, could you tell me what Iím seeing or what this is about?

ELIAS: Very well. You have presented this imagery to yourself quite specifically to offer yourself information concerning obstacles, that obstacles within your directions may not always present themselves in the form of what you assess to be negative or disturbing. At times, you may present to yourself obstacles that appear to you to be quite attractive but are no less an obstacle.

In this, you present to yourself this object which appears ornate and beautiful, but it no less is blocking your movement. Therefore, your challenge is to move around this obstacle, appreciate its presence, but to recognize that it is nonetheless an obstacle.

MARGOT: And itís blocking me in some way.

ELIAS: Correct.

Now; in this, you also present to yourself another aspect of imagery in relation to this object, for it appears to you to be long enough to be blocking your path but is not very tall. Therefore, it is not tremendously intrusive and it is not that you are unable to see beyond it. Therefore, this aspect of the imagery is also offering you information that some obstacles may not necessarily be presented in a manner that is distasteful or disturbing, and they may also not appear to you to be tremendously large and blocking your view of your choices and of your direction, but there is the presentment, regardless, of the obstacle. Are you understanding?

MARGOT: Yes, I am. Thank you for that. I decided when I dreamed it twice that I should see what itís about.

Archduchess Sophie has found all of her children now that youíve confirmed that Ben/Albert is Ludwig Victor. Both Anjuli and I have been wondering if the essence of the last son that I havenít found yet whose name is Karl Ludwig now holds the focus of Sid/Calem?

ELIAS: Yes.

MARGOT: Ah, thank you!

In the Roman Empire I have had a very interesting experience because everybodyís been trying to find Cleopatra. Because I do so well at being able to go into my room of focuses and talk to them, I went into that room and I looked. Iíve also recognized the fact that I may have that name in another one of my focuses, so I always try to identify who Iím talking to. Anyway, right away somebody stepped right up and said thatís who she was, so Iíve decided that if sheís in my room she is me. Would that be correct?

ELIAS: And you are referring to...?

MARGOT: Cleopatra of Egypt.

ELIAS: You do incorporate a focus that incorporates that name, and I may express to you that you do participate as an observing essence of this specific focus that you are speaking of.

MARGOT: Thatís very interesting, because that occurred to me. But it was what she said that just really surprised me, because I can quote her statement. Itís the first one that Iíve ever been able to quote. This was somebody with an attitude, and her first statement to me was, ďOctavia was a whore.Ē (Elias chuckles) So evidently youíre telling me that I could have observing essences in my room of focuses?

ELIAS: You ARE the observing essence. Therefore, yes, you may present to yourself the focus of the other essence. For I may express to you, especially if you are observing essence throughout the entirety of a focus, you are merged.

MARGOT: So weíre just like one?

ELIAS: Yes!

MARGOT: Thatís great! Now I understand that. (Elias laughs) I thought if I can talk to her, itís gotta be me.

Recently Howard and I went and saw the art collection of Duncan Phillips, who evidently collects all kinds of beautiful art. We were just thrilled with the things that we found there because we could identify some of the artists as folks that we know now. I have a question to ask. Was I a friend of Renoir in France?

ELIAS: Yes.

MARGOT: When he painted the one that is called ďLuncheon of the Boating Party,Ē it is said that he did that at the party while everybody was still there.

ELIAS: Correct.

MARGOT: Was I there?

ELIAS: Yes.

MARGOT: Was I male or female?

ELIAS: Female.

MARGOT: Am I the girl in the picture wearing a yellow hat and leaning against the rail of the boat?

ELIAS: Yes.

MARGOT: Ah, that is so exciting! (Elias chuckles) I thought so!

We also saw five paintings there of Paul Cťzanne. Is Maryís friend Sandy Paul Cťzanne?

ELIAS: Yes.

MARGOT: Mary thinks so, too, but she wonít ask! (Elias laughs)

In the Trojan War, I have always felt a very strong connection to Agamemnon. Do I hold any connection at all to him or anybody in that war?

ELIAS: Associated with that individual, but that individual is not your focus.

MARGOT: No, I didnít think it was. At first I thought I was his wife Clytemnestra Ė I donít speak Greek very well Ė but sheís not in my room and I canít find her. I also thought perhaps I was his daughter Iphigenia.

ELIAS: Yes.

MARGOT: Thank you very much.

I also had a very interesting experience recently riding along in the car. In fact I was playing the same CD the day that you were in the car with me and I tried to get you to smoke.

ELIAS: I am aware. (Chuckles)

MARGOT: I was listening to something called ďMeditations from ThaisĒ which is from the opera by Jules Massenet. I had probably heard this tune many times in my life, but the first time when I heard it in the last few weeks it made me cry. I was so connected to that tune. Itís a piano and violin duet, as you know. When I heard it this time, I knew every note, I knew where it was going, I knew everything about it. I was very emotional about it. Am I connected to Jules Massenet?

ELIAS: (Chuckles) You wrote it.

MARGOT: So Iím him?

ELIAS: Yes.

MARGOT: Oh, my god! I had decided I was the violinist! I decided that because one day I got the name of Diana, a violinist that has played that, and I saw a young woman with a mass of beautiful red hair, very pale skin. Is that the violinist he worked with? What did I see?

ELIAS: No. This is another focus that does incorporate that instrument and in actuality plays quite well and has an affinity for that artist.

MARGOT: So I am the violinist Diana as well as Massenet?

ELIAS: Yes.

MARGOT: I also got that Massenet dedicated the opera to his wife on their fifteenth anniversary or something like that, but that he dedicated the tune ďMeditations from ThaisĒ to the violinist whom he loved. True or not?

ELIAS: Correct.

MARGOT: Do I know that entity in this focus?

ELIAS: Which Ė of the violinist or of the wife?

MARGOT: Of the violinist that Massenet was in love with.

ELIAS: Yes.

MARGOT: You wouldnít like to give me any clues, would you? (Elias laughs) Iíve got to figure that one out for myself?

ELIAS: Shall you not even attempt? Ha ha ha!

MARGOT: Yes, I will attempt now! (Elias laughs) Massenetís wife Ė do I know her now?

ELIAS: Yes.

MARGOT: I will look for them. This is very exciting! (Elias laughs)

In the Donner Party, in which Howard and I are James and Margret Reed, I feel that my daughter, who was Virginia Elizabeth Backenstoe from an earlier marriage, is Marj/Grady in this focus.

ELIAS: Correct.

MARGOT: Thank you! Carter/Cynthia would also like to know if he is one of the sons of James and Margret Reed.

ELIAS: Correct.

MARGOT: Is he James or Thomas?

ELIAS: And your impression?

MARGOT: He thinks heís Thomas. I think heís James.

ELIAS: (Laughs) I may express to you that your impression is correct.

MARGOT: Thank you! While Iím talking about Marj/Grady, she would like to know if sheís Nefertiti, queen of Amenhotep IV?

ELIAS: This is an observing essence also.

MARGOT: It keeps coming to her that my name is Lorraine or that Iím from Alsace-Lorraine in a focus of hers. Can you confirm this?

ELIAS: The location is correct.

MARGOT: While Iím asking questions for others, I have a few more. The first four are from Jens/Ranatad, who would like to know if Stephanie of Monacoís essence name is Myrina?

ELIAS: Correct.

MARGOT: Jens would also like to know if he is Ė I hope Iím saying this correctly Ė Briseis of Lyrnessus, a slave girl in the Iliad?

ELIAS: Yes.

MARGOT: He would also like to know if his female focuses are the number of 722.

ELIAS: Twenty-one.

MARGOT: Seven twenty-one?

ELIAS: Yes.

MARGOT: Pretty close! As I kind of referred to a little while ago, he wants to know if when you give us the number of focuses, do you include the observing essences?

ELIAS: No.

MARGOT: I didnít think you did, but I thought that was kind of interesting.

ELIAS: And as I have expressed to Myranda, I do not include fragmentations either.

MARGOT: That never even occurred to me. That would occur to her because sheís so into that. (Elias laughs)

Sid/Calem wants to know Ė this is a little complicated, but these are his words Ė if the identification of the genuine desire that you gave to somebody in Session #921 is applicable to me as well, or are there also additional aspects of my genuine desire for me to be identifying and evaluating?

ELIAS: It may be applicable but with alterations, for he is not that individual. Therefore, he may be paying attention to himself and evaluating how this may be applicable to himself but also recognize that there may be included alterations.

MARGOT: I will tell him that. Sid would also like to know if the emperor Tiberius is a focus of (inaudible).

ELIAS: Observing essence.

MARGOT: Melinda/Sena would like to know if she holds the connection to an acrobatic female pilot alive today by the name of Nancy Wagstaff.

ELIAS: Yes.

MARGOT: That will please her. Anjuli wants to know if Iím Solomon Heine, the brother of Heinrich.

ELIAS: Yes.

MARGOT: Anjuli is pretty good. She gets these right on the nail! (Elias laughs)

Itzhak Stern, the accountant to Oskar Schindler, would that be Rodney/Zacharie?

ELIAS: No, but he does incorporate the action of observing essence, but not throughout the entirety of the focus.

MARGOT: I think he was told that he was Schindlerís accountant, and thatís what put me on to that in trying to find that out.

In regard to the Romanov family, several of us have been wondering if they were assassinated one at a time or all at once.

ELIAS: In the same time framework but individually.

MARGOT: Howard seems to be able to view that scene. Is he one of the essences?

ELIAS: Yes.

MARGOT: Thought so. Since Howardís session with you yesterday, Iíve thought a lot about Moses. It seems to me that heís connected to or in the Elias forum somewhere. Would he be Patel?

ELIAS: No.

MARGOT: Is he Ron/Olivia?

ELIAS: No.

MARGOT: Is he in the forum?

ELIAS: Yes.

MARGOT: Is it anybody that I know?

ELIAS: Yes, somewhat.

MARGOT: Someone Iíve heard of?

ELIAS: Yes.

MARGOT: I love it that there is truth in all or certain fairytales. I am so excited about that! (Elias laughs) I just found out recently who is Robin Hood and four of his merry men, which you have confirmed as Opan, Mikah, Zacharie, and Mylo. Are there more in that group of merry men?

ELIAS: Yes.

MARGOT: Iím wondering if that group of merry men may also include Ben/Albert or Frank/X-tian or Liam?

ELIAS: Yes.

MARGOT: All three of those?

ELIAS: Yes.

MARGOT: I think Iím understanding that Zacharie is Little John?

ELIAS: Yes.

MARGOT: Is Friar Tuck in the group as well?

ELIAS: Yes.

MARGOT: Does he live on the east coast of the US, too?

ELIAS: Yes.

MARGOT: I want to talk to you about that, because I live on the west coast and I want to be Maid Marion.

ELIAS: (Laughs loudly) Your physical location matters not!

MARGOT: Could you make it happen that Iím Maid Marion?

ELIAS: (Laughs) And your genuine impression?

MARGOT: My genuine impression? Yes.

ELIAS: Correct! (Laughs)

MARGOT: So I donít have to move to New York or New Jersey!

ELIAS: (Laughing) No!

MARGOT: I want to tell you a story, Elias, just a little story, because Iíd like to know if you would confirm it.

ELIAS: Very well. I am quite enjoying of stories!

MARGOT: Some weeks ago I was standing in the kitchen one day admiring our cat Cecil that Sweala and I had so much to do with, and I realized that she was standing beside me admiring him as well. So I said to her, ďWhy donít we do this again? You provide another creature from your dimension and Iíll create another little male orange tabby cat.Ē

One day not too long after that, our Cecil began meowing very loudly and chasing something I couldnít see, just like used to happen when Sweala and Grelko would come and theyíd leave a pet here and it would drive our cats nuts. So I decided that she had done her part.

About that time, our employee Vinceís cat had kittens and one was an orange tabby, and we adopted him. We got him the other day, and heís the cutest little thing ever. We named him Axel. Did Sweala and I once again do this sort of thing?

ELIAS: Yes.

MARGOT: Therefore, Axel is having his first dimensional experience here?

ELIAS: Yes.

MARGOT: Oh, thatís so cool! (Elias laughs)

Howard had such good luck with this yesterday. I would like to know if Iím the observing essence of two actresses, or at least one of them. One of them would be Patricia Neal.

ELIAS: Yes.

MARGOT: The other one would be Audrey Hepburn.

ELIAS: Yes.

MARGOT: Youíre so good, Elias! (Both laugh)

Let me see what else Iíve got here. You confirmed my identification of a Greek focus by the name of Myrna. Is she from the time about the Trojan War? Is she from that long ago?

ELIAS: Yes.

MARGOT: When she told me the name of where she lives started with a C, you told me to investigate. Did she live in Corfu?

ELIAS: Yes.

MARGOT: Good. In my last session we also talked about a focus as a young teenager by the name of Annabelle Foster who was making out with her boyfriend in the hay or something when the Chicago fire of 1871 killed them. I think you called me a strumpet (Elias chuckles) and the young manís name was Nathan. You did confirm that. Do I know him now or have I known him now?

ELIAS: Somewhat.

MARGOT: My first boyfriend in this focus was named James, and I decided it was James.

ELIAS: Yes.

MARGOT: Ah! I havenít seen him for years.

Let me look through here again and make sure that Iíve got... Iíve hurried so fast (Elias laughs) that I think I may have overlooked some things.

Oh, St. Petersburg, the focus I have who is not in the Romanov court but my name is Petrovna Ė I believe one of my children is badly injured one day when all of the children are on the back of our horse which reared and the kids fell off, and my son, who is my son Dan now, was hurt in the back and the legs. Because of his dadís connection in the court, my son is treated for his injuries by one of the court doctors. Is this true?

ELIAS: Yes.

MARGOT: He was one of the first doctors to perfect a technique to treat back injuries?

ELIAS: Yes.

MARGOT: I did a lot of research on that, and I found four that were very close to the family. I can give you all the names but Iím inclined to think itís Dr. Nagorny.

ELIAS: Correct.

MARGOT: Thank you.

We still have a little time. Essence names Ė I have so many kids and I have never asked you all of their names, but Iím doing it a little bit at a time now.

You told me my dadís essence name Tuma. What is my momís?

ELIAS: Essence name, Germaine.

MARGOT: And my sister Charron?

ELIAS: Essence name, Elenora.

MARGOT: Thatís a beautiful name. I would also like to know the essence name of my son Michael.

ELIAS: Essence name, Mystique (mis TEEK).

MARGOT: Spell that please.

ELIAS: M-Y-S-T-I-Q-U-E.

MARGOT: And the essence name of his wife, Janice?

ELIAS: Essence name, Centomn, C-E-N-T-O-M-N (sen TOM).

MARGOT: And essence name of Quin-Tueís partner, Jack?

ELIAS: Essence name, Dominic.

MARGOT: I believe that my nephew Keith, who I raised, is a focus of my son Mike, who you just gave me his name of Mystique. Is that Keithís essence name, too?

ELIAS: No, but there is counterpart action with these individuals.

MARGOT: Thatís what I picked up on, then. So what is Keithís name?

ELIAS: Essence name, Bryan.

MARGOT: Bryan with a Y?

ELIAS: Yes.

MARGOT: The last thing I want to talk to you about is this thing with Queen Victoria that Iíve been going around and around with myself about, and Iím trying to read a lot about her. I know that my focus is Alexandra, Queen Victoriaís granddaughter, but there seems to be something else there. I keep picking up that Queen Victoria was either my mother or my grandmother.

ELIAS: No, but your mother does incorporate the action of observing essence.

MARGOT: I think they act exactly like each other, actually. (Elias chuckles) Do I have any other connection to Queen Victoria that I havenít picked up on? Because sheís so big in my mind.

ELIAS: A focus of another individual that may be described as close to an individual that you incorporate a strong friendship with.

MARGOT: In the court?

ELIAS: In this forum.

MARGOT: Oh! Isnít Vicki connected there someplace? Is that the individual that youíre talking about?

ELIAS: No.

MARGOT: Iíll have to search for that, Elias.

ELIAS: But that is another individual that has been close to this individual.

Now; allow yourself to listen, Giselle, for who may you confuse with Lawrence easily?

MARGOT: That would be Shynla.

ELIAS: No.

MARGOT: Olivia?

ELIAS: No.

MARGOT: This is a guessing game, Elias! You donít like those!

ELIAS: Ah, but this is a game and this is fun! Ha ha! Who may be easily confused with Lawrence?

HOWARD: Mary.

ELIAS: Correct!

MARGOT: Oh my god! (Elias laughs) So you are saying that Mary is in the court of Queen Victoria, too?

ELIAS: What I am expressing to you is a clue that an individual that is recognized as quite close to her is.

MARGOT: I will work on that one. (Elias laughs slyly)

I have one last question for you. I think our time is just about up. No, we have a little bit of time left. I donít know Ė youíll have to tell me, Elias. Did I have a role in the Salem witchcraft trials?

ELIAS: Yes.

MARGOT: I thought I did. Is the role that I have being burned at the stake or burning others at the stake?

ELIAS: Both.

MARGOT: I guess I had some roles there!

ELIAS: (Laughs) Exploring that!

MARGOT: Which one did I enjoy the most, being burned or burning somebody else?

ELIAS: Being the individual that was burning of other individuals.

MARGOT: Oh, I thought so!

ELIAS: (Laughs) Are you quite pleased with yourself now?

MARGOT: Iím quite pleased, yes!

ELIAS: (Laughs) I am aware that you enjoy these notorious focuses!

MARGOT: Oh, yes, I do! I enjoy them very much, almost as much as Dale/Jene enjoys having fragmented Hitler! (Elias laughs) I really like that!

I guess you are aware that some of us are trying to make plans to go to the group session in DŁsseldorf?

ELIAS: I am aware.

MARGOT: What are the probabilities that Howard will make arrangements to go?

ELIAS: This is a choice.

MARGOT: I know that! But what are the probables?

ELIAS: There is a probability, a potential.

MARGOT: Do you have anything to say, Howard? I have a minute or two left.

HOWARD: Yes, actually. Your question about Moses Ė we were looking for a family first as a connection to Moses, and we chose Gramada. Was that correct?

ELIAS: In alignment, yes.

HOWARD: The second part of that would be my follow-up, which I didnít ask you yesterday. I have a major visual image of being with Moses and Jethro during the time when Moses was in exile. Since weíd already identified that I was Aaron, was Aaron present with Moses and Jethro? This would probably be during the time when Moses was choosing his wife, being the daughter of Jethro, early on when they were testing each other. Anyway, I can see myself there.

ELIAS: Yes, for a partial time framework.

HOWARD: Aaron was there?

ELIAS: Yes. Not throughout the entirety of that time framework, but partial time.

HOWARD: Thatís good. That helps me put that one away. The one question I didnít ask you yesterday on my list was regarding this essay, an article/short story that I had written entitled, ďLone Wolf of the Two Feathers.Ē I have a tremendous amount of difficulty reading that story without crying, and even now, thinking about it. I have no doubt that it occurred and was a story of one of my focuses.

I only want from a historical point of view to kind of pin it down as to time. Margot and I have decided it feels like an Anasazi story, a very indigenous pre-Colombian tribe of people that lived in the Southwest at the time. It feels recent in terms of years because itís an ageless story, but it also has a very ancient feeling. As ancient as I can get is about 400 to 600 BC, and it could be as early as 1400 AD. Of course, the character Lone Wolf is not known to anyone currently. Can you help me with that?

ELIAS: Within your 1300s.

HOWARD: 1300 AD?

ELIAS: Yes.

HOWARD: Shee-Nah-Ikah was a name that he gave himself. Shee-Nah-Ikah translated into Lone Wolf of the Two Feathers. What does Shee-Nah-Ikah mean?

ELIAS: And your impression?

HOWARD: Little man? Stranger? Like that.

ELIAS: In a manner of speaking Ė not quite what you would translate as stranger, but transparent in a meaning of invisible.

MARGOT: Was that a dimensional focus? Is that in another dimension?

ELIAS: No.

HOWARD: I guess that really is all for me.

MARGOT: Well, thatís all because I read the time wrong. Weíve kept him way over time, and heís going to charge us more! (Elias laughs loudly) Elias, itís been wonderful to talk to you!

HOWARD: Oh, by the way, the violinist that Margot wants to identify?

ELIAS: Yes?

HOWARD: When I do female, other than Mona Lisa, I like red hair. So Iíve decided it was me.

ELIAS: (Laughs) That is the lover?

HOWARD: Yes.

ELIAS: But this is not the individual that she viewed.

MARGOT: So youíre saying that as Massenet I loved Howard?

ELIAS: No, I am clarifying that the individual with the red hair is a focus of you, as I have already expressed. But that is not the same individual as the violinist that was the love.

MARGOT: He was mistook.

ELIAS: Correct.

HOWARD: Thank you.

MARGOT: Thank you so much, Elias. We will talk to you again soon, and Iíll see you in DŁsseldorf!

ELIAS: Very well, my friend. I express my affection to you as always and my great friendship. To you both, au revoir.

MARGOT: Au revoir.

Elias departs at 12:55 PM.


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