Wednesday, July 07, 2004
ďAllowing Flexibility in CreatingĒ
Participants: Mary (Michael), Letty (Castille) and Stella (Cindel).
(Eliasí arrival time is 14 seconds.)
ELIAS: Good morning!
BOTH: Good morning, Elias! (Elias laughs)
LETTY: Itís been a while! We missed you! We have been traveling all over the globe.
ELIAS: (Laughs) And what have you been creating?
LETTY: Iíve been creating something very interesting that Iím trying to figure out. As far as bringing myself the information through sessions with your information, it has to do with my perception and the way Iím creating, or as you would say, how I am creating. Iíve been struggling; I call it ďstrugglingĒ because itís kind of throwing me off-balance in understanding. I think I want to sell my house, and somehow itís kind of procrastinating. I do have the trust that it will sell, but maybe it has to do with paying attention to my trust. I guess I wanted your validation that within the moment right now, if Iím understanding myself correctly, it has to do with that and how to practice it a little better.
I generally do just want to sell my house; itís like Iím ready. I recognize that my personality or my way of thinking, my perception of doing step one before you do step two, you canít go to three without doing two, was affecting that my house was not selling, because I thought that certain things had to happen before. I was putting conditions and absolutes.
ELIAS: Correct, and also holding to the familiar.
LETTY: Of the way I structure things?
ELIAS: And with the environment and the structure itself, for it is a representation of you and your creation, your energy and your environment. That is the familiar, your foundation.
LETTY: I was actually working on getting to the unfamiliar of allowing that there are no absolutes, within energy there are no rules or limitations, so therefore thereís nothing to stop me from selling my house.
ELIAS: Correct, and in this, allow yourself more of a flexibility. Recognize that the house, so to speak, is the structure. It is your symbology of yourself. If you allow yourself to incorporate less rigidity, and allow yourself to express more flexibility and not incorporate such structure and sequences, you may be expressing a different type of energy, and that shall generate different movement and a different direction.
LETTY: Is that why everything was going well and we were supposed to close within a couple of weeks, and all of a sudden there was a little hitch? Somehow I was allowing my energy, and then somewhere down the line I went back to that rigidity and I kind of what we would call threw in a wrench?
ELIAS: Yes. Yes, for you, in a manner of speaking, returned to the familiar of the structure and the sequence.
LETTY: When I do that, I really do pay attention the moment that I do it. Can you help me? Was it a little fear? Iím trying to understand when I do go back to the familiar. Thereís really no ďstop here and start here,Ē and this is where I was.
ELIAS: The manner in which you recognize what you are doing is to be paying attention to what you are reflecting, not necessarily to be confusing yourself and distracting yourself with the imagery but to be paying attention to what type of energy you are projecting, and in the recognition of that type of energy, to allow yourself different choices. For you may not necessarily be incorporating a fear, and therefore, you do not offer yourself an emotional communication. You do not incorporate the feeling of fear for you may not necessarily be expressing fear. You may merely be expressing familiar beliefs and behaviors and associations.
In that, as you begin to block a movement, pay attention to what is significant to you. You may be expressing that you want to sell this house. But what does the house represent to you?
LETTY: Me, naturally.
ELIAS: Correct. Therefore, in not paying attention to all that you are expressing Ė which occurs in many different types of scenarios with all of you Ė you are not offering yourself accurate information. You are relying on thought to be translating what you are doing, but as I have expressed many times, thought may only translate what you pay attention to. Therefore, this is the reason that many times individuals thwart creating what they want and many times create what they do not want, for you are not paying attention to the big picture. You are paying...
LETTY: Can you help me, then? Is it that right now at this moment I donít want to sell my house Ė I donít want to let go of that part of me?
ELIAS: No, not necessarily. It is not that you do not want to sell the house. That is, once again, Castille, moving into the black and white, which is the rigidness, and merely paying attention to the imagery. You have generated a similar action to many, many, many other individuals in recent time framework.
I have expressed many times with individuals recently that this wave is generating a very strong energy which EASILY influences individuals to create extremes. You may easily be caught, so to speak, in paying attention to objective imagery to the point in which you do not allow yourself to express a flexibility with your attention any longer. Therefore, you are not paying attention to what you are generating within you or what you are communicating to yourself, for you are paying attention to the objective imagery so strongly that you almost numb yourself to your own communications. Therefore, you do not offer yourself information, and this generates confusion.
Now; in this, you have been paying attention to the process of selling the house and not paying attention to your associations with the house, and thusly move your attention to thought concerning what you want: ďI want to sell the house. Why am I not selling the house? I want to sell the house; I am ready to sell the house; I want to move into the unfamiliar.Ē
ďI want to be moving forward,Ē in your terms, for this is the manner in which you think, and in that, to be moving forward, you must be creating a sequence of events and they must be expressed in that rigid order. But simultaneously, there are other movements and expressions that are occurring within you that you are ignoring, for you are strongly focused in the objective imagery of the process and how it is proceeding. Therefore, you are not allowing yourself to evaluate or examine your association with the house and appreciate that and recognize that element of yourself, and therefore allow yourself to relax and move on, in your terms.
It is not that you do not want to sell the house; it is that there is another expression that you are ignoring, and that is the acknowledgment of your appreciation of this house, what it represents and what it has represented with you for an extended time framework. Therefore, what you are attempting to do is to eliminate rather than let go.
LETTY: Thank you! Youíre wonderful, Elias! (Elias laughs)
STELLA: Hi, Elias!
ELIAS: Good morning, Cindel!
STELLA: Oh, Elias, Iíve missed you so much! (Elias laughs) This is the longest Iíve gone without speaking with you.
ELIAS: I am aware.
STELLA: Isnít that awful? My god! (Elias laughs) But Iím glad weíre talking today, Elias. I have to tell you, I definitely align with this wave thatís happening, and god, is it tough! I have experienced an incredible amount of fear with regard to just about everything. Itís just really coming up to the forefront. With regard to the business, for a moment I thought, ďStella, what are you getting yourself into?Ē All of the fears that I have within myself came up, and it was like oh my god, no, thereís got to be maybe another way, thereís got to be this other way Ė sort of like exploring different areas, different things. Bottom line, I think Iím very much afraid of the money, what can happen if it doesnít work out Ė all of the what-ifs, Elias.
STELLA: Like, what if this thing doesnít work? I am so responsible, Elias, for my mom and for Dennis, for Dick and for my sons Ė and for the whole world! What if I lose the house and they take it? Weíre going to end up in the street. Oh, I have this all planned out! (Laughs)
ELIAS: Ah, and this is an excellent example that you have offered to yourself, and that you and Castille may be examining. For you both express similar beliefs that as you offer yourselves information, you move forward, and as you continue to move FORWARD, you may occasionally become stuck, but eventually you continue to move FORWARD, and any type of association with backward movement is very bad.
Now; this is significant, for what you are generating and experiencing now is very similar to what you were experiencing and expressing in the time framework that we initially objectively met.
Now; this is significant. Remember Ė I may not stress this to you enough Ė this particular wave addressing to truths is being presented experientially, not intellectually. Therefore, this is the reason that it is such a powerful and strong wave, and that it is so very affecting, for you are not merely identifying your beliefs and your truths, you are experiencing them. And remember, do you eliminate beliefs?
ELIAS: No. Therefore, if you have expressed beliefs that were being expressed in your terms five or six years pastly, have you eliminated those beliefs?
ELIAS: Do you continue to incorporate those same expressed beliefs?
ELIAS: Yes. Therefore, it is not a question of backward movement; it is a question of those expressed beliefs being experienced again. They have not been eliminated, but the difference is that within the interim time framework many of those expressed beliefs were being accepted, and therefore were not being as affecting. In that acceptance, you also generated recognitions of different influences of those same beliefs, and therefore chose influences of those beliefs that were more in keeping with your preferences.
In this time framework, you have moved into an unfamiliar familiar influence of those same beliefs. The unfamiliarity aspect of them is that for a time framework you have been choosing other influences and you have been generating an acceptance of those beliefs. Therefore, that became the familiar, and the fear became the unfamiliar. Now you are experiencing those same beliefs again. You are choosing that unfamiliar familiar of the fear, and you are immobilizing yourself, which is the familiar automatic response, which is what you created previously.
But what is encouraging in this experience and this example is that you have offered yourself actual experiences of choosing different influences, and you have been successful.
STELLA: Right. Like with Castilleís house, Elias, a year ago I was going through the same thing. I allowed myself to go through the fear and the thing with my mom, and all this stuff that was happening. That didnít mean that I wasnít fearful Ė of course I was Ė but I allowed myself to go through it. I was afraid of the money; I didnít know where the hell we were going to get money. Basically I was doing exactly the same thing Iím feeling right now.
Now; let me express to you, prior to your incorporation pastly of engaging your trip with Michael...
STELLA: Oh, yes! I thought of that one, too! (Laughs)
ELIAS: ...you were expressing quite similarly. And what did you create? Quite effortlessly you created your Eiffel Tower, correct?
STELLA: Yes, I went and had fun.
ELIAS: And that served as a tremendous reinforcement to your trust of your ability to create. Subsequently, for an extended time framework, you allowed yourself to create quite easily and quite well. If you can generate that, what prevents you from generating that now?
STELLA: No, I totally agree, Elias. Well, you know what? Once I recognized what I was doing, which was about two or three days ago, what happened was that I started seeing the movement again towards the spa. I started looking at the information, I started writing a little bit here, doing a little bit more of that.
What happened then was I thought of the what-ifs, like what if this happens, and it was like, shit, my mom will go someplace else and my brothers will take care of her, their daughters will take care of her. I donít care; Iíll go someplace. So all of a sudden I eliminated all these problems, all these things that were holding me, and it was like it really doesnít matter. It matters not what happens, because I would have gone through the experience, which is more important to me than not going through the experience. Thatís when I amped up my energy and it was like now itís okay to just do what Iím doing with the spa. (Elias laughs) Howís that, Elias?
ELIAS: Very well!
STELLA: Why are you laughing?
ELIAS: It is amusing at times...
LETTY: I recognize that sometimes we take the business a little bit too serious and we stop having fun. I think sometimes when we get too serious is when I notice our fear creeping up.
ELIAS: Yes, and not practicing with your imaginations and not incorporating your magic.
LETTY: I know, and I continue to watch my progress to influence me. (Elias chuckles)
STELLA: Elias, a quick crystal-ball question: is this the most probable, probable, probable reality that we are creating with the spa? (Laughs with Elias) Oh, please! We have known each other so long, Elias Ė you can tell me!
ELIAS: (Laughing) In this moment, yes.
LETTY: Thatís wonderful!
STELLA: ďIn this moment.Ē But it could change, Elias! (Laughing)
ELIAS: You can always change! (Laughs)
STELLA: Is that why you keep telling us to continue to use our imaginations? Is there a fork in the road and weíre saying okay, maybe letís look at this other way?
ELIAS: Not necessarily. I am encouraging you to incorporate your imagination to ALLOW yourselves more of a flexibility and to dissipate this fear.
LETTY: I think thatís why we kind of projected to each other this week, was the fact that maybe the path we want to take is to go back and have fun instead of the seriousness and the fearfulness we acquired in going to these classes where they actually write out the belief systems of how difficult it is to do a business, how easy it is to fail. I think thatís the ďwhyĒ that we were looking at. Because we even looked at the why one day and I think thatís what the why meant. It means that we need to go back or change the path of that seriousness into more allowing ourselves, to give us the opportunity that we know that we can create it.
ELIAS: Correct, and to be trusting of yourselves and to be trusting of your energy and your abilities, and not reinforcing potential failure but reinforcing your trust and your abilities and your creativity, and therefore also encouraging your motivation. This is what is valuable with imagination, for it is inspiring and motivating.
LETTY: Somehow I keep envisioning it, so I feel comfortable. Thank you so very much.
ELIAS: You are very welcome.
LETTY: I have a couple of questions for people, starting with our friend Gregoria; I forgot her essence name. She hurt her arm over a year ago, and itís like therapy and itís still not healing. She was hoping that you could help her kind of find what itís... Sheís not paying attention to what itís signifying, other than maybe sheís not paying attention to herself.
ELIAS: Partially, and also partially not expressing a gentleness with herself, pushing energy and creating a force of energy. If this individual is allowing more of an expression of nurturing with self, that may be quite influencing.
LETTY: My friend Virginia, I wasnít sure if it was a dream or in between dreams, but she saw a blue light and wanted validation that it was you.
LETTY: I thought so. Youíve been trying to talk to her a lot, huh?
ELIAS: Attempting to gain attention. (Chuckles)
LETTY: I think sheís at a point where I think she would like to be more active in that, so I will tell her. Thank you.
We met this man Ė his name is John Ė and itís somebody that both Cindel and I had a connection with. We would like to offer him to join us at our spa eventually. Heís a masseuse. I went and got a massage from him, and I donít usually go to connecting with people, but I did. I wanted the validation that he and I were very, very close neighbors in the south of France. It seems like we were on farms, and we kind of took care of each other.
LETTY: I was a female and he was a male?
LETTY: All you can find out if you just trust yourself, huh?
ELIAS: (Laughs) Quite easily, also!
LETTY: One more is I talked to you about this friend who seems to have some kind of illness that they canít figure out what it is, or heís not sure. Heís a person that has a very, very, very strong belief system in helping people, very religious, but when he attracts people... I know he believes a lot in energy, but at the same time I think he somehow allows or doesnít stop other peopleís energy to actually influence his body.
My impression, because I know him for so many years, is that perhaps in allowing other peopleís energy, who come in with tough energy because theyíre having problems Ė they come to him because they feel they need help from him Ė itís kind of like maybe telling him to slow down. Is that what it is Ė the belief system of actually picking that up?
ELIAS: Partially, yes, and partially influenced in personal responsibility also. The issue of personal responsibility influences the action of creating different expressions physically within himself in association with other individualsí energies.
LETTY: I had a question that I think I answered myself. When I was in Boston, I had this horrendous, horrendous pain in my neck, and that I interpreted as my impression of supportiveness. When I had it, it was because I was taking personal responsibility for Marta and Isabel.
STELLA: I came up with something very special about me, Elias. (Elias laughs) My presence is really, really wonderful!
ELIAS: I am in agreement! (Laughs)
STELLA: I have very grounding energy.
STELLA: So I call myself a point, like a period. Then I told Letty I saw her as an ďsĒ because sheís a very engaging individual. She moves like an ďsĒ all over the place. Her energy is just very engaging. I said how neat that the two of us are doing something together, because itís sort of like we just have this dance together that we can do so much with it.
ELIAS: I am understanding, and I am acknowledging of you also.
LETTY: I donít think sheís a period. A period is just too definite. I think sheís like an ďi.Ē It still has a little curve and it has a dot, but thereís a little bit more of that. I wanted to put Marta as the exclamation point. Is he still involved with us here? I know he says he tries to give us energy, and I think he does, but...
STELLA: Isnít that wonderful about presence, Elias? (Elias laughs) Iíve been noticing that. Iíve been going with Dick to his job, Elias. Iíve been doing stuff that I have never done in my life, like going to the job sites and thinking of stuff, like physical work a little bit. But I think it has to do with the ground I walk on, because everything is dirt and thereís something about that that does something with me. I donít know. The sun is pretty hot and Iím a little concerned about my face, but thatís my belief about my face. But anyway Iím having fun doing that, actually.
ELIAS: And offering yourself an appreciation of yourself and of what you create. Now hold to that, rather than the fear.
STELLA: Elias, I went to see Ė and Letty saw it on another day Ė but I wanted to get your impression on this one. Thereís a movie out called ďFahrenheit 9/11,Ē which Iím sure you know about. When I came out of there, Elias, I felt exhilarated, and the reason I felt exhilarated was because I felt like this was so in tune with the shift in consciousness. I felt like we were all, perhaps, looking at ourselves and how we are contributing to whatís happening in the world.
STELLA: I felt also that there was no blame coming from me in the sense of anything, but rather the responsibility that I feel that I must exercise.
STELLA: That was my exhilaration. I remember once when we were in Paris, and you told me specifically Ė and I donít remember exactly the words Ė but you told me something about this time around it was a liberation from self. It was not a liberation from a cause, but a liberation from self and a freedom, and I think thatís what weíre seeing.
STELLA: I, of course, took it at that time that it was only me. But of course it was not only me; itís all of us. Itís more about our liberation from self. Is that how you told me?
STELLA: Anyway, I just wanted to share that with you. I went to see it with Dick, and Dick was like... But I said we have to pay attention to the things that we are loyal to, like the causes that weíre loyal to, because if weíre loyal to that then we donít look at the truth and we shut our minds. I just thought it was wonderful that this movieís on right now. But then again, another twist to that is that ďSpidermanĒ is on too, and itís sort of like the two movies, they deal with exactly the same thing. (Elias laughs) Am I correct in that?
ELIAS: Yes, which are also examples of this wave in its easy ability to generate polarization.
LETTY: I have a question. Isabel went through a little bit of, not a trauma, more of a drama with her school issue. Both parents are in recognition of the belief systems that a child should go to school and be more centered in the same school and be more acceptable, or whatever. Of course, Iím responsible for being judgmental, in that she has a personality that doesnít like to make decisions many times and allows other people to do it, and therefore theyíre not necessarily her desires or her wants. But I think sheís finally catching on to that, because I think she finally created something that she wants, not something that I, her aunt, or her parents wanted, for her to go to school or study or whatever.
LETTY: So sheís actually now liberating herself a little bit more. I feel that many times she takes a lot of responsibility for her own parents.
ELIAS: Yes, this is correct.
LETTY: So now sheís exercising her choices.
STELLA: I think we have a little more time, and I just wanted to share a dream. For some reason, I have had a lot of dreams, Elias, and theyíre more about sexuality. But anyway, this one is also a little bit about that, but it has stayed with me. Iím in a room. Thereís a bed, and a woman is there in the bed. Thereís a man alongside and heís clutching a piece of equipment. This equipment has got like a blade. Thereís a little boy next to him. The man has a faraway look, sort of like a menacing kind of look but menacing in a way of lustfulness, and heís going to do something to this woman. Anyway, I make believe I was not seeing it, Elias. I make believe like Iím not there, like I donít want any part of the whole thing. Then, funny enough, Elias, I have the dream again, and I dream exactly the same thing. I get it twice, so I think thereís an important message.
The second time around, I allow myself to go a little further; I paid attention. I left them, I went upstairs, and the little boy followed me. I was going for the door, because I needed to get out of there, and the little boy followed me, but I donít through the door. Iím kind of holding the door and I see the man coming down. Then I wake up. I woke up really disturbed about it, because I was like afraid.
What I came up with was avoidance. I was avoiding looking at what Iím doing or what Iím creating, or looking at myself because Iím afraid and all that kind of stuff...
STELLA: ...and believing that itís not happening when Iím seeing that it is happening, but trying to make believe that itís not happening.
STELLA: Is that it?
ELIAS: Yes. And what is the significance of the child?
STELLA: I believe that itís the child within me, the innocence and trusting, Elias.
ELIAS: And the representation of the lack of fear.
STELLA: What was that equipment that he was holding, and why do I remember it? It was something big, Elias, and he was holding it very tightly.
ELIAS: That is merely imagery that you have created to emphasize the strength of fear and also the strength of your association with potentials that may be destructive or damaging to you, and that you do not incorporate the strength or the control to combat that destructiveness. Therefore, you create an object that appears tremendously menacing and strong that would be damaging, and you would incorporate no power to defend yourself against such a menacing object.
STELLA: As a matter of fact, after that dream I didnít sleep. It was like three oíclock in the morning and I stayed awake until Dick went to the job site, because it was that powerful. But I remember that that day, I think thatís when I started with my doubt about the spa, and thatís when my fear became even more insurmountable. But then it was associated with the what-ifs...
STELLA: ...and thatís when it started happening.
STELLA: Iím going to remember about the present being so important.
ELIAS: (Laughs) And paying attention to your energy and what type of energy you are projecting, and paying attention to balance.
LETTY: I have one more question, a last question for a friend, and thatís Rosario, who is unemployed again. She was looking for words of consolation, because she feels guilty in the sense that sheís not really looking for a job, or not really fighting, for that matter, or even the right type of interviews. My impression of that was that she really doesnít want to work. She really enjoys what she does, and itís the belief system that is making her feel bad about it.
ELIAS: Correct. And you may express to her from myself that it may be significant for her to be appreciating her preferences and allowing herself that freedom, not to be forcing herself to be engaging actions that she believes she should incorporate, but to be paying more attention to her preferences and allowing herself to express those.
STELLA: Thank you so much, Elias. Itís been really wonderful. Thank you for your energy. Iíve seen your eyes in my visions when I see my focuses. I see you looking at me.
ELIAS: And I am always with you.
STELLA: I know and I feel you, so I appreciate that, Elias. Thank you so much.
ELIAS: You are very welcome. I express my encouragement to both of you, and I continue to offer my energy with both of you. I anticipate our next meeting objectively. (Chuckles)
LETTY: Me too, Elias. And weíll see you subjectively.
ELIAS: To each of you in tremendous affection and love, as my dear friends, au revoir.
STELLA: Bye, Elias.
LETTY: Au revoir.
Elias departs after 49 minutes.
© 2004 Mary Ennis, All Rights Reserved.