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Friday, May 09, 2003

<  Session 1337 (Private/Phone)  >

ďImpressions and ValidationsĒ

Participants: Mary (Michael) and Kate (Lamb).

Elias arrives at 10:53 AM. (Arrival time is 16 seconds.)

ELIAS: Good morning!

KATE: Hi, Elias. Itís wonderful to talk to you at last!

ELIAS: And how shall we proceed?

KATE: Iíd like to ask, first of all, some essence names, families, alignments and things for my friends and relatives.

ELIAS: Very well.

KATE: First of all, me Ė Iím Lamb.

ELIAS: Correct. (Slight pause) Continue.

KATE: How about my son Bobbyís essence name? (Pause)

ELIAS: Essence name, Brooke, B-R-O-O-K-E.

KATE: And his family and alignment?

ELIAS: And your impression?

KATE: I kind of get stumped on that. I really donít know. I think heís of common orientation and probably political focus, but the family and alignment I just canít tell.

ELIAS: (Chuckles) Very well. You are correct as to orientation and focus type. Essence family, Sumafi; alignment, Gramada.

KATE: How about my daughterís essence name? (Pause)

ELIAS: Essence name, Alethya, A-L-E-T-H-Y-A (ah LEE thee ah).

KATE: Again, I guess Iím too close to them and thinking too much as a momma. I donít get any impressions about her family and alignment, but I do think sheís probably intermediate orientation and emotional focus.

ELIAS: Correct. Essence family, Sumari; alignment, Borledim.

KATE: And my friend Margie? I have some good impressions on that. I think sheís Sumafi/Sumafi and common.

ELIAS: (Laughs) Correct!

KATE: And focus, I donít know.

ELIAS: Emotional. Essence name, Bevette, B-E-V-E-T-T-E (bev VET).

KATE: And my friend, Karen. Alignment, Sumari, I think, and orientation, common.

ELIAS: Correct.

KATE: I donít remember the name of the family, but sheís a nurturer.

ELIAS: Essence family, Borledim; essence name, Seamus, S-E-A-M-U-S (SHAY mus).

KATE: And my cousin Tina? I have no clue of the essence name, but the familyís Sumari and alignmentís Sumari, soft orientation, and emotional focus.

ELIAS: Alignment, Sumari; essence family, Ilda. Essence name... (Pause) Hmm! There is a fluctuation in this essence presently. I may offer you the essence name presently, but there is a fragmentation in process, which may affect the essence name subsequently. Presently, essence name, Luepon, L-U-E-P-O-N (LOO pon).

KATE: Thank you. And her orientation and focus are correct?


KATE: The last two are my brother and his son Johnny. My brother... No clue, I have a block there! (Laughs)

ELIAS: (Laughs) Essence name, Staimos, S-T-A-I-M-O-S (STAY mohs). Essence family, Tumold; alignment, Zuli; orientation, common. (Pause) Next individual?

KATE: Johnny, his son. I feel a strong connection to that boy.

ELIAS: Essence name, Louise, L-O-U-I-S-E. Essence family, Sumafi; alignment, Sumari; orientation, common.

KATE: Thank you. Iíve been trying to figure out my essence color. Iím really drawn to purple or some shade of mauve, dusty rose. Is that even close?

ELIAS: Orchid as focus color; essence color, burnt orange.

KATE: I have some questions, I guess, validations for my intent. I remember a dream that I had when I was a very small child. I saw eyes looking back at me from in the clouds. I was flying about and I saw these eyes, and I realized that those eyes were me. I thought how can my eyes look at me when Iím looking at them? I formed a question in my mind which no one could answer; I donít even know if I could frame the question correctly at that age. But the question was, will I see with these eyes when I die? It seems all my life Iíve been looking for that answer.

So I kind of figured my intent was how does reality work? What are we here for? Not what am I here for, but what is this whole reality for? I also think that that dream marked a point of my forgetfulness. I was just wondering if Iím anywhere close to being correct on that.

ELIAS: The latter is quite correct. As to your exploration, it is somewhat correct Ė not quite the exploration of discovering what the purpose of this physical reality is, but exploring the ideas of what this physical realityís purpose is.

KATE: It seems Iíve created all the way through my life different examples of alternate states of consciousness in some way, shape, or form, but theyíre never repeated. Itís never an ďokay, I can do thisĒ kind of thing. Itís like Iíve done it and then I go on to something else. I had an out-of-body experience and havenít had any since, and donít really think I need to. Precognitions, Iíve had them and thought it was all fine and dandy, but theyíre of really no use and I kind of move on! (Elias laughs) I think that pointed me to the exploration. I donít know whatís coming next, but itís very interesting! (Elias laughs)

My essence name, Lamb, my father called me lamb all the time Ė lamby-kins, lamby-pie, little nicknames. I was allowed to choose what I wanted on my walls as a little kid, and I looked through all the wallpaper samples and picked one with lambs on it. I kind of think my father was instrumental in pointing me down certain roads, and he kind of kept me on a track. Of course that wasnít his main intent in life, but I just have the feeling he knew a lot more than he thought he knew about metaphysics or reality.

ELIAS: (Laughs) You are correct.

KATE: I have several dreams that I guess I need validated. I kind of have feelings about them, what theyíre about. Like when my daughter was born, that was my first and only out-of-body experience, but it was very welcome at the time! (Elias laughs) The person that greeted me, I didnít know who that was but Iíve come to think that it was probably my self kind of helping me out. Am I right?

ELIAS: Correct.

KATE: He showed me some... I call it the sandman imagery. I didnít appreciate the humorous aspect of it at the time, but now I think itís kind of amusing. It was a metaphor that I think he expected me to get more out of than I did, but I hope Iíve grown a little!

Iíve had two dreams where I was other people, and I died in kind of grisly forms of death. I really donít know what the purpose of those dreams was.

ELIAS: An opening of a door in viewing other focuses.

KATE: What was the little hairy creature? In one of them I wasnít a human. Was that another reality?


KATE: I thought the woman was in Ireland, and she had a long dress... 1870s?

ELIAS: Wales.

KATE: 1812?

ELIAS: No, your date is correct. The location is Wales.

KATE: Thank you. I have a feeling that the children at the hearth are my same children in this focus.


KATE: I had a dream about, I think, a future focus. I got the name Yuri, and I think heís in the Mid-East somewhere.

ELIAS: Correct.

KATE: I donít think the future was so far from now, probably maybe fifty years ahead?

ELIAS: Next century, beginning.

KATE: Then there will still be AK-47s, because thatís what he showed me. I was looking at it and said, ďItís different from what we have,Ē and he said, ďWell, we have made some improvements in all these years!Ē (Elias laughs)

I bought a book, an Oscar Wilde biography. When I saw the picture on the front I thought, ďI know this man.Ē I just felt a very strong connection. Then I had a dream where I was somebody talking to Oscar and he had just told me something that he was going to reveal, make public. I was just shocked and appalled that he was going to do this, because it was going to ruin him, possibly. Was that real? Was that a dream or am I imagining or is that some kind of imagery?

ELIAS: You are not imagining, and you have offered yourself quite real imagery. You, in that focus, express a focus as an American professor.

KATE: I feel really drawn to Henry James, in particular. Did I know him?

ELIAS: Ah, you do incorporate another focus in which you are a student of that individual.

KATE: That makes sense.

Iím drawn to the same era in music. Chopin, I ought to be able to play this music on the piano; I feel this. Iíve always felt since I was a little child that I could play piano. Of course, I canít. Every time Iíve tried, my piano got sold Ė not by my choice, by somebody else.

I remember crawling on the floor as a baby. My parents had a grand piano, and I went to the pedals and said to myself that I canít reach them right now but I just need to grow a little. I crawled up on the stool and tried to span an octave and was very frustrated. (Elias laughs) I just knew I could play the piano! I was waiting and then they sold the piano. I remember being very upset, throwing a tantrum. Iím wondering, who was I? Do I have another focus that knows how to play?

ELIAS: (Laughs) I may express to you that you are observing essence throughout the entirety of the focus of that individual.

KATE: Oh, Chopin, okay.

ELIAS: But you also do incorporate other focuses in which you do engage the action of incorporating different instruments.

KATE: The lute for one, Iíll bet.


KATE: Iím very fond of lute music.

ELIAS: And the piano is another.

KATE: Drums, even.


KATE: Oh, and singing, too. I swear I should be on the stage somewhere! I feel that, but I get stage fright Ė more than ten people in the room and Iím like ďaaagghhh!Ē (Elias laughs) So itís just not for me in this focus, but I know somewhere I am performing.


KATE: Is it current?


KATE: Thereís a few performers that Iím drawn to that I feel I know, but Iíll explore that.

ELIAS: Explore counterpart action.

KATE: I also think that theyíre similar to me and that theyíre very versatile. Iím not so versatile as much as admiring people who are. If I do one thing and finish it then Iíve got to go on to something else, and I think these particular performers do that very same thing with their art. Is that valid?

ELIAS: Counterpart action.

KATE: I got up one morning, Elias, and this voice shouted in my head, ďElizabeth Stanton!Ē (Laughs) I couldnít believe it! I was half-asleep and groping for the coffee pot and I wrote this down. Then I got on the Internet because I didnít recall who she was. Have I got some connection with Elizabeth Stanton?

ELIAS: Yes, and your impression?

KATE: Well, either sheís a focus of mine or I was a friend of hers or worked with her in some way.

ELIAS: A focus of you.

KATE: There was also the possibility of an Elizabeth Staunton, who was an accomplice to murder, who I thought I could be also! (Both laugh) Thatís a wild guess.

ELIAS: No, but you do incorporate a focus that knows that individual.

KATE: The names are so similar. Iím not even going to ask who might be the murderer!

I was going to ask you how many focuses that I could really connect with easily.

ELIAS: Forty-two.

KATE: How many do I have in this reality?

ELIAS: Three hundred twelve.

KATE: Iíve got a list here of focuses Iím pretty sure that I have, besides the ones Iíve mentioned. I am an Indian somewhere, both male and female, I think.


KATE: Because Iím really at home in the woods. I love it, except the critters. Some of the creepy crawlies Iím not fond of.

Also, I think I was a rather warped social director in Nazi Germany.

ELIAS: In your terms, yes. (Both laugh)

KATE: He enjoyed it! When I was a child, I got these images and I had no idea what they were. I didnít know what was going on in these images, because I would have no way of knowing at that very young age. He knew that he was contacting me. Is that correct?

ELIAS: At times.

KATE: I remember finally realizing that this couldnít be me doing this. I think I told him to go away, somehow, and the images went away.

ELIAS: I may express to you, within that individualís perception it is viewed as entertaining his imagination.

KATE: Fantasies?


KATE: Was he in Nazi Germany?


KATE: I think he arranged events and things for different people. Is that correct?


KATE: So he was in the hierarchy there.

Then I think I also was a German doctor involved in experiments, and then a Jewish woman who was either a victim of his or in a camp of some sort.

ELIAS: I may clarify Ė yes, you do incorporate a focus as a Jewish woman that is a doctor in Auschwitz, and you did somewhat interact with a Nazi doctor.

KATE: Going back to this social director, would I be able to find his name somewhere or was he just kind of a non-entity? Would I be able to find it in records?

ELIAS: Perhaps. I may express to you, it is possible also to discover the woman.

KATE: Thereís some reason I was really affected by some pictures. When I was in second grade, there was a child whose father had been a photographer in the army, and when he liberated these camps he took pictures. The boy found them and brought them into school without his parentsí permission and showed them around. I was so appalled; I was just horrified. I was so ashamed of my German ancestry. Iím wondering if that was kind of a bleed-through from the woman doctor, maybe.


KATE: I studied German in college, almost as a ďwell, Iím going to do it anywayĒ kind of attitude, but I never really got the language down. I just felt a block for some reason and never really realized why.

ELIAS: And this is associated with those focuses also.

KATE: Another timeframe that Iím just really drawn to is medieval British times. I swear I was an archer. I donít know what year; 1100 comes to mind.

ELIAS: Yes, you are correct.

KATE: I think I also have a focus of a woman who lives in a castle. I donít know what rank she is or whatever. Then a nun, an older woman, and Iím wondering if this is the same woman in later years.

ELIAS: Yes, you are correct.

KATE: Is it around the same timeframe, 1100?

ELIAS: That century, yes.

KATE: Do I have a focus as a Buddhist monk?


KATE: I know that thereís a man out there somewhere that... One time I was wondering why men are so sexually oriented, and that night I had a dream where I merged briefly with a man and then I realized why! (Both laugh) That had to be another focus.


KATE: I also have strong emotions about Mayan and Incan cultures, kind of an aversion, although the buildings and things they made are fascinating. But I kind of feel like I was there and not real happy with the sacrifices and the way things were going. I have a feeling I probably have a focus around the time of the decline of one of those civilizations.

ELIAS: Yes, you are correct.

KATE: Also a Scottish focus Ė Robert Burns is just a fascination to me, and I donít know if it was his timeframe or...

ELIAS: That time framework, and you are known to that individual.

KATE: Did I know you in Scotland?

ELIAS: Yes, briefly.

KATE: There is something Iím really fascinated with. I had a relationship with a man who was so different from me. In the very beginning when I first met him, I knew it just wouldnít work out in my belief systems. We were just worlds apart. I was meditating and this voice in my head said, ďYou will do this!Ē and I said okay. So I went ahead and did it!

When I was in the midst of the relationship, it was very turbulent, very emotional. I was meditating again and trying to get an answer of how I could make it work, like maybe I was doing something wrong, and the same voice said, ďHeís not for you and never will be.Ē

Iíve come to think in retrospect that the voice is me, of course, and for some reason this was an experience that was desired. But now that I look back on it, I feel that it wasnít me that did that. It was like an alternate self, because I remember it but I canít feel it, you know what I mean? Itís like it wasnít me doing it.

ELIAS: I am understanding, which also is another expression in a different avenue of your exploration within your intent, to be experiencing interaction with another individual in exploring differences in more of an extreme. In this, you also allowed yourself to offer yourself information concerning the differences in perceptions and the different directions that individuals may move in. This is an example of no absolutes, and not merely one general purpose in association with this physical reality. Are you understanding?

KATE: Yes, very much. In retrospect, when it was all over with and I felt like myself again, I thought, wow, was that a learning experience! I told him that my perception was making me miserable, and he said, ďWhy are you doing this to yourself?Ē I was seeing him as something that he was not. I was creating my entire reality based on what I thought he was going to do, but he wasnít doing it!

ELIAS: Correct.

KATE: Very, very informative.

ELIAS: You are also correct that you changed primary aspects within that time framework to allow yourself the type of experience that you generated, for that aspect of you expresses different qualities than your most familiar primary aspect.

KATE: Depression being one of them.

ELIAS: Which is also an experience.

KATE: Very definitely. I appreciated it for what it showed me. My daughter experiences depression, and I never really understood it until that experience of my own.

ELIAS: Quite, which is significant. For as you are aware, if you are not incorporating an experience, information may be presented to you but it remains conceptual for you do not generate a genuine understanding of the conceptís reality, for you have not offered yourself the experience in association with it. That IS the point of this physical dimension, to be exploring experiences and offering yourself information in reality in association with your experiences.

Also, you may recognize the association with that in regard to other expressions, other experiences or the lack of experiences, for this has provided you with an example of recognizing and understanding certain expressions within reality through experience. Therefore, it also provides you with information concerning concepts that you may not have experienced, and therefore you recognize that you do not incorporate a genuine understanding of them unless you allow yourself to generate those experiences. Are you understanding?

KATE: Yes. I do recognize a lot of that. I used to many times see other people and say, ďGee, I sympathize,Ē but now I know you cannot know. I always liked the saying that you canít judge a man until youíve walked a mile in his moccasins, and Iíve held to that, or tried to, anyway. I think that whole experience was a validation for me of that very concept.


KATE: Concerning my daughter, she has this phobia about pain and the sight of blood. Itís very disrupting to her life, although when she really, really wants to get around it, she can! I just get the feeling itís a bleed-through from another focus.


KATE: Not to be punny about the blood! (Both laugh) I think I was involved somehow, because thereís a certain amount of resentment she has towards me. I donít know if itís entirely from this focus, but I just got that impression one day.

ELIAS: Yes, you are correct.

KATE: Could that be in the Nazi era?


KATE: The woman doctor?


KATE: She was somebody I was... Was she an experiment?

ELIAS: Yes, not in association with you, but you also did interact with this individual and performed a procedure that you term to be an abortion.

KATE: She does not want children because of all this, because of her fainting, because she doesnít feel that she could take care of a child. If a child came to her injured and she fainted, what good would she be? There could be more to it than that, but thatís interesting. Iíll let her explore that.

When my mother died a couple of years ago, I went outside right afterwards and there was a light in the parking lot that was flashing blue, just like laughter. Was that you?


KATE: I thought so and I appreciated it, as you probably know. It meant a lot to me. I didnít think when your mother dies that you could laugh, but I saw that and I thought Momís okay. Did she see her sister when she passed?

ELIAS: In a manner of speaking.

KATE: I kind of guessed that. She was afraid of dying, so I told her, ďDonít be afraid. When they come to get you, say you want to see somebody you know! If you want to see your sister, ask for her!Ē So just before she died, she looked at the foot of the bed and said, ďI want my sister.Ē She was concentrating very hard, and then she just laid her head down and passed. I thought okay, she must have seen her sister. (Elias laughs) I figured it was her self giving her exactly what she needed, because my mother was fighting and if it was her time, it was her time, and she needed to go.

When her sister, my aunt, died, I was in the room with her. I didnít feel a pulse, so I sent someone out to get the nurse and I was alone with her. I bent down to give her forehead a kiss and her eye opened up on that side and gave me this ageless look. I just stood there, frozen, and it closed and then I went back. That kind of got me, so I walked away. As I turned and walked back, I saw this band of pink, like a flush, rise up from her neck and up through the top of her head. Then I felt this enormous rush of energy, and I was brought up to the tips of my toes. Then I heard my auntís voice go, ďWow!Ē (Elias laughs) What was that? Iíve got my notions of what it was.

ELIAS: It was quite real. I may express to you, first of all, she offered you an expression of thanks and an expression of what you term to be farewell in looking at you. She also projected energy out of the physical body consciousness quite strongly, and this is what you experienced. Some individuals at the moment that they choose to incorporate disengagement also choose to be thrusting their awareness outside of the body consciousness, at times merely as another expression of experience and at times for the reason that it is exciting and fun. (Laughs)

KATE: She was, ďWhoa! Wow!Ē (Elias laughs) Then it expanded all through the room, and I donít want to say left, but kind of blended. It was just a fascinating experience. I thought I had gone off my rocker for a little bit, but then you canít deny something so real. She was very pleased with the whole thing, and I felt it. What was the thanks for Ė friendship or helping her or...?

ELIAS: An appreciation and an expression of gratitude in association with your energy.

KATE: I probably have a billion other questions here (both laugh), but Iíd just like you to go ahead and tell me anything you think I need to know. Any help I can get Iím happy to listen to!

ELIAS: I may express to you that you are accomplishing quite well already! (Laughs)

KATE: It gets confusing!

ELIAS: Remember merely to be playful and recognize that you are moving in this reality as an exploration and you may view that exploration as a game and not so very serious. (Chuckles)

KATE: Iíve taken myself too seriously at times. So I joined the Naval Reserves when Iím forty, and like why? People say, ďWhy did you do that?Ē and I say, ďBecause I could.Ē (Elias laughs) Thatís merely it.

Writing Ė thatís one of the things I wanted to ask you about. When I wrote my book, it just flowed in six months; it just flowed right out of me. It was in medieval times and I probably drew a lot from the focus from that period, but it just flowed. I used to think my looking for experiences and stuff was more so that I use it in writing, but now I realize the writing isnít important but yet itís a thing I could do with it. I was wondering what are the probabilities of making that useful in supporting my physical being?

ELIAS: This is your choice. You do incorporate the ability to be generating that type of expression and allowing yourself a successfulness in that form of creativity, if you are so choosing.

Allow yourself, in similar manner to what you have previously but perhaps even more freely, to connect, so to speak, with different aspects of yourself, different focuses of yourself, that may lend great color to your characters and also shall be a drawing upon your own experience, therefore shall in your terms give your characters life.

KATE: Itís interesting that you say that. Iíve felt two or three different times that I met my characters in physical reality here. One was a doctor, and I was just speechless because he was almost exactly like a main character. Then I had met another one at a store, and we just struck up a conversation. I couldnít believe it! Just recently I met another man who could be my main character. Am I creating that?

ELIAS: Yes, quite!

KATE: I donít know why I do that. Is it similar to you create what you concentrate on?

ELIAS: What you are doing, my friend, is drawing to you individuals that have been participants in other focuses of yours to validate your impressions and to validate the information that you offer to yourself in relation to your characters, that they are quite real.

KATE: That is so interesting! Itís rather shocking when it happens, in a way. I immediately recognize it. It probably happens more subtly, but I donít get it each time. I tend to need a bash on the head every time! (Elias laughs) Itís like the cat and the picture frame!

Whatís with the cats? I donít understand the cats. My impression is that in one of the sessions you told someone that because of the energy lent to the shift that we would tend to create in a big way, and Iíve created in a big way all these cats! (Laughs) They all seem to be mirroring me in some way, and I study them and I learn from them.

ELIAS: Correct.

KATE: Is that what theyíre for? Iíve created the heck out of them!

ELIAS: This is the reason that you have drawn this into your reality and have created these creatures, to be reflecting different aspects and expressions of you.

KATE: I wanted to ask you about my friend Margie. Have we been in other focuses together?


KATE: When we met, it was instant friendship, thirty yearsí worth of friendship. (Elias chuckles) How many do we share together?

ELIAS: One hundred and two.

KATE: Is that in this reality?


KATE: The other physical realities, do I have other focuses?


KATE: Most others do, I would imagine.


KATE: How many do I have, do you think? Countless, probably.

ELIAS: Correct. (Both laugh)

KATE: I donít seem to feel a lot of contact with some. Have I just been ignoring it, any kind of impressions?

ELIAS: Not necessarily. Let me express to you, look to your intent. What is your intent in this focus? In conjunction with that intent, it is quite understandable that you do not necessarily offer yourself an exploration of focuses within other dimensions, for you are concentrated in this dimension.

KATE: Then I really connected with (inaudible).

ELIAS: Correct.

KATE: That was very instructive because he has a sort of an interesting aspect. I think that he said (inaudible). When he went off the cliff, (inaudible).

The attitude was interesting because he wasnít afraid as much as he was saddened that it was over. But then he was afraid to hit the ground, and then I assume Lamb came to get him and said, ďYou donít have to experience that.Ē (Elias laughs) The little hairy guy just gratefully left and died. That was information to me. I think that was the whole idea of the dream.


KATE: I think weíre getting down to the wire here and I donít want to take up more time than Maryís got allotted here. (Elias laughs) I certainly do appreciate it and it was really great talking to you finally, although I feel the connection many, many times. Have you been playing with my lights?

ELIAS: Yes! I am present (laughs) and I do interact with you.

KATE: Many times thereís something, like when a light will go on and (inaudible). Instead of thanking myself, like, Lamb did this, itís Elias.

ELIAS: And perhaps you shall incorporate both!

KATE: Yes, I think so. Well, I appreciate it very much.

ELIAS: (Laughs) Very well, my friend. I shall be anticipating our next meeting, and I shall be offering playful energy to you in the interim time framework.

KATE: Iíll look for it!

ELIAS: Very well! (Laughs) To you in great affection, my friend, au revoir.

KATE: Au revoir.

Elias departs at 11:50 AM.

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