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Friday, April 01, 2005

<  Session 1738 (Private)  >

ďAs You Discount Yourself, YOU Generate the ObstaclesĒ

ďChanging Physical ExpressionsĒ

Participants: Mary (Michael) and Nichole (Neajwah).

(Eliasí arrival time is 16 seconds.)

ELIAS: Good morning!

NICHOLE: Hi, how are you?

ELIAS: As always, and yourself?

NICHOLE: Iím good, thank you. I have some questions for you. I was wondering, am I emotional, thought, religious or whatever focused?

ELIAS: Emotional.

NICHOLE: How many focuses have I had?

ELIAS: Eight hundred twenty-six.

NICHOLE: What is my intent? Iíve thought about it, but I canít put a finger on anything.

ELIAS: What is the theme of your experiences within your focus? It is significant that you allow yourself to investigate and to recognize what your theme is Ė evaluating all of your experiences throughout the entirety of your focus, not merely now but throughout the entirety, and allowing yourself to genuinely evaluate what general direction you have generated throughout your focus.

This is significant, for it offers you considerable information concerning yourself and allows you to become much more intimately familiar with yourself. I may express your intent to you, but that would be merely words. If you experience what your intent is, it is much more significant.

NICHOLE: I thought that it had something to do with looking within and then just creating without... I guess that doesnít make much sense. Everybody does that, anyway. (Elias chuckles)

This past year, I guess I havenít been doing a whole lot objectively. I feel that I have been going through a lot of different things on the inside, if that makes any sense. I keep having this urge to go traveling, and I kinda feel like maybe thatís just my way of trying to force what I feel inside of me

ELIAS: Which is? Be more specific.

NICHOLE: I feel like Iím going through a lot of my beliefs.

ELIAS: Such as?

NICHOLE: I donít know, dealing with what I feel like I should be doing and what I want to be doing.

ELIAS: Which are?

NICHOLE: (Laughs) I donít know. Whatever I feel like doing in the moment, I guess. Traveling or...

ELIAS: What is it that you want and what is it that you perceive you cannot do?

NICHOLE: Obviously, I have a lot of interest in the physical form and all that kind of stuff, being Zuli, and I want to express myself through it, but I also feel like itís not something that a person could base a career on or actually do.

ELIAS: And what would prevent you from accomplishing such a direction?

NICHOLE: My own fears, do you think? (Elias nods in agreement) You mean like I am holding myself back by my own fears?

ELIAS: This is what you want: you want to express yourself in a physical manner, in a manner of display. There is no actual obstacle to prevent you from engaging that direction except yourself.

In this, as you appreciate your expression of your own esthetic beauty and you allow yourself your own freedom to express that appreciation and to share that expression and that appreciation with other individuals, other individuals shall share with you also and shall reflect that appreciation also, which is the key that generates the successfulness in what you want.

Therefore, if you are generating an obstacle, it is worthy of your attention to be evaluating what you are doing that is preventing you from accomplishing what I want.

NICHOLE: What I am doing?


NICHOLE: In terms of beliefs and stuff?

ELIAS: What type of energy you are projecting, how you genuinely perceive yourself, what you do in discounting yourself rather than acknowledging yourself. In that, as you discount yourself, YOU generate the obstacles. It is a matter of paying attention to what you are doing and not concerning yourself with other individuals.

If you are continuously projecting your attention outside of yourself, that generates fertile ground for comparison, in which you shall compare yourself to other individuals. It also can become overwhelming, for you also generate expectations of yourself and how to present yourself and how to behave and how to perform.

You generate expectations of other individuals simultaneously with the comparison. The expectations of other individuals can very easily be another discounting of yourself, that other individuals perhaps expect more of you and more of your abilities than you assess that you can accomplish. These actions occur when you project your attention outside of yourself and you move in the direction of being the co-pilot, allowing other individuals to dictate your choices and your direction for you.

As an example, hypothetically, in a situation in which you may present yourself in a physical capacity in displaying yourself, you may generate that perhaps in a role of an actress or you may perhaps present yourself in a role of a model.

In projecting your attention outside of yourself, you begin to anticipate what the expectations of other individuals are and how you must comply. Therefore, you begin to bend yourself in all different types of directions, allowing other individuals to dictate your choices and your direction to you, which may not necessarily be what you want, and it may not allow you the freedom to genuinely express yourself in your display of your appreciation of your own beauty.

In this, what the key is is to be paying attention to yourself, acknowledging yourself, allowing yourself the freedom to express what you want and how you want to accomplish that. If you are genuinely expressing that acknowledgment and appreciation and acceptance of yourself, you shall automatically reflect that, for this is what you all do. You reflect yourself through other individuals. Therefore, if you are projecting that type of energy, other individuals shall also notice and shall generate an attraction to your energy. They shall reflect that appreciation that you are expressing, and that shall generate successfulness.

NICHOLE: Iíve noticed that. In terms of how Iíve been wanting to travel so much, does that have anything to do with my intent? Would it be in line with my intent?

ELIAS: Yes. And what are you preventing in that direction?

NICHOLE: Money, for the most part.

ELIAS: Ah, but that is quite limiting, and actually traveling does not necessarily require money. It is merely a matter of generating an openness within yourself and allowing yourself to engage your imagination and view the choices that you incorporate. There are more choices than merely that of generating money to provide the means for traveling. There are many different manners in which you may generate money directly or indirectly that shall also accomplish allowing you to travel.

If you focus in one direction, you limit your choices, and you do not allow yourself to view the big picture and that there are many avenues to accomplish whatever you choose.

NICHOLE: Have I been limiting myself? I get really focused on things, and then I end up getting so engrossed in it for like a half a week.

ELIAS: In that, what do you accomplish, other than dwelling on what you cannot do?

NICHOLE: I think I pick up information and realize what I can do, too. I think that I both limit myself and kinda open up more opportunities for myself, as well. Itís like a double-edged sword. I guess itís better than nothing.

I was having this weird thing with my clock, my computer, speakers Ė everything kept making this noise. Doot-doot-doot. It just kept doing it, and it drove me nuts for so long. It woke me up in the middle of the night. I was just wondering, was that me? (Elias nods) Why was I doing that? I thought maybe it was because I kept focusing on the wrong stuff.

ELIAS: Not necessarily the wrong, but generating an agitation within yourself. In that agitated energy, as I have expressed many times previously, energy shall be expressed. It is not an element that you may contain. Therefore, if an individual, such as yourself in this situation, is generating frustration and an agitated energy Ė regardless of whether you feel anxious or not, you may not necessarily express that type of signal; but that is not to say that your energy might not be agitated in conjunction with what you are experiencing in that time framework and what frustrations you are experiencing, and at times, what limitations you are experiencing Ė in that, an automatic action is to hold that energy and not be aware objectively that you are actually doing that. But in doing that, in some capacity that energy will discover a means of being expressed in some manner.

NICHOLE: Well, it stopped! I guess thatís a good thing. (Both laugh)

ELIAS: Therefore, perhaps you have stopped in some capacity.

NICHOLE: I hope so. That would be awesome.

Iíve always written in so many diaries throughout my life, and for some reason I was always writing somebody like ďGabely.Ē I donít know why I did that. Can you shed some light on that?

ELIAS: Yes. I may express to you that this is a very familiar individual to you. This is an individual that you have incorporated many other focuses with, most of which have been in the capacity of siblings, and have expressed in other focuses tremendous affection to this sibling Ė therefore, the familiarity and the comfort of almost writing letters to this individual in this focus, although you have not objectively met in this focus.

NICHOLE: Oh, interesting. Throughout my life, I almost never had a normal sleep schedule. I am especially a night owl, and itís really frustrating and annoying, especially when Iím trying to keep a job or work. It disrupts so much. I was just wondering why I do this to myself.

ELIAS: It is not necessarily a negative. What may be perceived as the negative is your continuous attempt to fit yourself into a form that is contrary to your natural flow of energy. In a manner of speaking, it is attempting to place the round peg in the square hole. In this, if you engage your creativity, you may allow yourself to bend your environment to your natural flow of energy, rather than you bending yourself to your environment to fit it.

NICHOLE: Like getting a night job? (Elias nods) Also, my cat moans a lot in the middle of the night, and that creeps everybody out because she sounds so disturbed. Why does she do that?

ELIAS: Creatures are interesting creations. They do not incorporate beliefs and they do not incorporate emotion, for emotion is a communication from the subjective to the objective. Creatures do not need this communication, for they are continuously aware of both awarenesses. Creatures also are more attuned to what is occurring within their reality and within their environment than are you, generally speaking. You do not see, physically, essences that are not physically manifest; creatures do.

They also engage interaction with nonphysical energies and essences within their sleep state, many times. Their dreaming is different from your dreaming, for their dreaming is as real as your waking state. Therefore, they are aware of what they are interacting with and they may be expressive, for creatures incorporate different types of language.

Their language is expressed in action and in vocalizing. This is the manner in which they interact and in which they communicate. In this, they communicate and interact within dreams equally as they do within waking state. Therefore, at times, the creature is within waking state and generating this moaning, and at times within sleep state and generating this moaning. This moaning is an acknowledgment of other energies that are present that the creature is aware of that you may not see, but the creature sees.

NICHOLE: Is she scared of it?

ELIAS: No, it is a curiosity. The creature has an understanding in this interaction that if it generates this audible sound, it also generates preferred responses from the nonphysical energy that it is interacting with Ė in a manner of speaking, in similar manner to how the creature may respond to any physical object that may be moving in front of it, and its natural curiosity to investigate and perhaps even to prod to view how it shall move. In similar manner, the sound is its prodding to view the movement of the nonphysical energy.

NICHOLE: Interesting. I was also wondering about my friend Carlos, what his essence name and families are.

ELIAS: Essence name Vikka, V-I-K-K-A (VEE kuh). What is your impression as to essence families?

NICHOLE: I donít know the difference between Sumafi and Sumari. I think it might be one of those two.

ELIAS: Sumafi.

NICHOLE: Is he Borledim alignment?

ELIAS: Correct.

NICHOLE: Iíve noticed for a long time, no matter what I do with my body, no matter how much I exercise, no matter how much I change my eating, it doesnít change. This is frustrating because I want it to change somehow, you know?

ELIAS: In what capacity?

NICHOLE: Iíd like to lose weight or firm up or something.

ELIAS: The more you oppose yourself, the more you generate what you are actually opposing. The manner in which you accomplish generating what you what is to recognize first what is motivating what you want. If what is motivating what you want is an expression that you donít want, that generates an opposition. You are opposing what you have already created. You are not accepting of what you have created, which generates the motivation to change that.

Changing what you have already created may be more difficult, for you are not recognizing and paying attention to the strength of the opposition that you generate within yourself. If you are continuing to focus your attention upon different physical expressions that you have generated that you do not like Ė or that you more than do not like Ė that generates a circle in which you continue to focus your attention upon what you dislike. The more you concentrate your attention upon what you dislike, the more you create it, for the more energy you offer to that expression. Therefore, you continue to concentrate, and you continue to create it.

Whereas, if you recognize some element within yourself, in your expressions or what you do, that you dislike, and you begin to evaluate that Ė you evaluate what you dislike, and you begin to allow yourself to accept that that is your creation and that it is not bad Ė as you begin to acknowledge whatever you have created, you begin to stop opposing it. You interrupt that automatic opposition. In not opposing your own creation, you allow yourself the freedom to choose different choices and to generate different outcomes.

NICHOLE: I used to have a lot of problems with my toenails. Itís not really a problem now Ė I guess it kind of is Ė but itís not as bad. I must have solved it, but I was just curious why I did that.

ELIAS: That would be another expression of discounting of yourself, not generating satisfaction with your appearance, and not generating a severe manifestation to alter your appearance but generating a physical manifestation of your discounting of your appearance, that it was not good enough.

NICHOLE: I get really into exercise and beliefs about eating properly and that kind of thing. I find it really entertaining, but Iím figuring Iím putting a lot of energy into it, and I probably (inaudible). Is it a big problem?

ELIAS: It is not a matter of what you should or should not do; it is matter of your preferences, and you incorporate preference to be paying attention to these types of activities. It matters not what you consume or what you do not consume. That is your preference. Therefore, it is one of your guidelines of how you express yourself and how you create, which is not bad and it is not a matter of should or should not. It is a natural direction for you, for it is a preference.

NICHOLE: Also, Iíve had a huge draw to the Japanese culture, and yet Iíve never, in my dreams or anything, come across a Japanese focus, that I know of, anyway. Iím just wondering why I have such a huge connection.

ELIAS: You do incorporate other focuses in that physical location. Also, there is another element that generates a draw to that culture, for the culture itself as a collective generates a similar appreciation for beauty, as do you. Therefore, your energy resonates with the energy of the collective culture of that area.

NICHOLE: Iím sorry to ask so many annoying questions about my body, but I also have this problem with my hair. It seems to be thinning, kind of. Itís driving me nuts. Is this another discounting thing? It seems that the more I concentrate on it, it seems to be worse. (Elias nods in agreement) Yes?

ELIAS: You are offering yourself examples of concentration Ė attention and concentration.

Now; remember, attention and concentration are not the same. They are two actions. You are offering yourself examples of how that generates affecting your physical reality, that what you concentrate upon is what you create. That influences your perception quite strongly. The more you generate attention with whatever you are concentrating upon, the more you reinforce it. Therefore, the more you create it.

Distraction may be quite effective, for that interrupts that concentration. Perhaps if you are viewing yourself within your mirror, and you are being playful with your hair, and you engage a game with yourself of visualizing your hair being quite full, fuller than you would actually desire, that may be amusing, which shall interrupt the concentration of the discounting of yourself. Perhaps also, as you engage this exercise of viewing yourself as quite puffy (laughs), you may also engage other fun activities, such as allowing yourself to experiment with different types of products that you may incorporate with your hair. Whether they actually accomplish any action or not matters not. What matters is that you allow yourself to play. In that, your concentration upon how your hair is too thin shall be interrupted.

NICHOLE: (Laughs) I can do that. Bring it on!

I have another question. When I was younger, I used to draw coconut trees with limbs. I know it makes no sense. Is there any reason why I did that?

ELIAS: What is your impression?

NICHOLE: I donít think a coconut tree with limbs actually exists.

ELIAS: Not in your reality.

NICHOLE: Was it a different reality?

ELIAS: It is a translation. Not precisely accurate, but it is a fair translation into what you know within this reality. That would be what you would translate as the appearance of other focuses within another reality.

NICHOLE: Is that something I played with with my friend Naomi, and with any of the other people that were involved?


NICHOLE: So we were all in this alternate...


NICHOLE: I became really involved in this whole other world, I guess, with all these other people and Naomi. It had a huge influence on my life. Was that just an alternate reality or whatever that I tapped into?

ELIAS: Partially, but also partially allowing yourself an avenue to be creative and expressing yourself in an environment that encouraged you in that.

NICHOLE: Is there a focus I could be trying to tap into that might be beneficial to me somehow?

ELIAS: If you are so choosing. You do incorporate a focus within the early years of your twentieth century, your previous century, in which that focus is also a female, an actress, and also incorporates a strong preference for dancing Ė not necessarily in a professional manner dancing, but incorporates a strong preference for dancing and singing for her own pleasure.

NICHOLE: Is that somebody I could easily research, like on Google or something? (Pause)

ELIAS: Yes, you may access this individual.

NICHOLE: Was she reasonably famous or something?

ELIAS: Yes. Now follow your impressions and allow yourself to listen to your own communications, and that shall generate your treasure hunt.

NICHOLE: Okay, Iíll work on it. (Both laugh) Thank you!

ELIAS: You are quite welcome.

NICHOLE: Here I thought I wouldnít be able to get to so many questions! What is my essence color?

ELIAS: And what is your impression?

NICHOLE: Red or yellow?

ELIAS: Essence color, signature color, a darker pink.

NICHOLE: Fuchsia?

ELIAS: Darker. Close to a red but more of a pink.

NICHOLE: Iím still stuck on this actress.

ELIAS: (Chuckles) Allow yourself to incorporate a game of the treasure hunt.

NICHOLE: Is she somebody who I thought about recently, kind of?


NICHOLE: I also lately have this real draw to Greece. Do I have a focus there or something?


NICHOLE: Right now?

ELIAS: No. Previous.

NICHOLE: Is that a focus that is similar to me?

ELIAS: In some capacities; not entirely. But in some capacities and some experiences, there are similarities. But more of your draw to this location is associated with this focus. You are beginning to allow yourself to draw yourself to different locations that resonate with your energy.

NICHOLE: Like Vancouver?


NICHOLE: Cool. Iíve been wanting to move to Vancouver very badly, but Iím a bit of a chicken, so I havenít made any real attempt.

ELIAS: I may also offer to you another exercise that you may be incorporating for a time framework, to be noticing and noting every time you discount yourself. For I wager to say to you that when you review this conversation, you shall surprise yourself at how many times you have discounted yourself in this conversation.

NICHOLE: That could be! (Laughs) Also, in my dreams I used to dream a lot about water. Is that a window? Should I research this more?

ELIAS: A dream trigger.

NICHOLE: Did I have a lot of focuses with Naomi?


NICHOLE: I ran out of questions!

ELIAS: Very well.

NICHOLE: Thank you for talking with me.

ELIAS: You are very welcome. I express to you my own appreciation of you and a reminder to be engaging your exercises.

NICHOLE: Iíll work it.

ELIAS: (Laughs) I express to you great affection, my friend, and anticipate our next meeting. And I shall be offering my energy to you also to remind you to be engaging playfulness.

NICHOLE: Thank you very much, Elias.

ELIAS: To you, my dear friend, au revoir.


Elias departs after 47 minutes.

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