the Elias forum: Explore the transcript archive.

Home

Introduction

Digests

Transcripts

Exercises

Gems

Library

Search

Donate

Thursday, May 05, 2005

<  Session 1764 (Private/Phone)  >

ďCorrectĒ


Participants: Mary (Michael) and Jim (Bevan).

(Eliasí arrival time is 18 seconds.)

ELIAS: Good afternoon!

JIM: Well, good afternoon, Elias! Iím back again. (Elias laughs) I know one focus that I share with you. I suspect there are others. How many focuses do we share in this dimension?

ELIAS: Seventeen.

JIM: Iím curious as to why the blue splotch that represents your energy to me continually changes shape, size and intensity. Should I see significance in this?

ELIAS: Not necessarily. It is merely playful variety.

JIM: That makes sense. What occurs when I experience a frisson?

ELIAS: What is your impression?

JIM: Itís a sudden flow of energy, emotion. Thatís my impression.

ELIAS: Correct. And what do you assess is the communication?

JIM: That Iím not sure of. I wouldnít want to try to guess, because it happens at different times, different places, different stimuli.

ELIAS: Offer example.

JIM: For instance, that one question on this list Iíve got here that gives me the cold shivers every time I look at it. Itís like when I ask you about things about Muriel; that was quite frequent there.

ELIAS: I am understanding. This is an intensity of emotional communication and signal, for it triggers an intensity of sensitivity with you. In these moments, you are experiencing what may be viewed as somewhat of an extreme of sensitivity or compassion.

JIM: I have a question from Dale/Jene. She asks, ďWhat was my experience with Rodinís ĎEveí? I felt like I was drawn into an altered experience. First, Iím not sure if my connection was with Rodin, the model for the piece, or the piece itself. I think it was the piece itself, and that is partially why Iím confused, as I didnít particularly like the sculpture. I did, however, really enjoy the experience and felt as if I was merging with something, although I donít know what, or perhaps it was mergence with certain information. I almost felt as if she were whispering to me. I have felt this type of experience before. Iím curious as to what it is, as it doesnít feel like empathic connecting.Ē

ELIAS: In a manner of speaking, it is somewhat of an empathic connection. As I have expressed previously with other individuals, artists frequently, in a manner of speaking, transfer some aspects of their energy into the actual physical creation that they produce. In that, figuratively speaking, the production generates somewhat of its own energy that continues, for it is an action that may be likened to expressing an energy deposit in a particular location which remains.

But the difference is, in this type of situation, is that the artist has transferred an aspect of their energy into the actual manifestation of their creativity, and that remains in the actual physical elements of the creation. Whether it be a sculpture or a painting, the actual energy remains in that production and may be tapped into if the individual viewing the manifestation allows themself an openness and allows themselves to connect with or merge with the actual manifestation Ė in which, an individual may generate an intensity of an experience in connecting with the energy of that piece, so to speak.

JIM: Paul/Paneus would like to know if the SAA portal diagram that Paneus drew is correct.

ELIAS: Yes.

JIM: Elena/Deena would like to know if she is final focus.

ELIAS: Yes.

JIM: How many lives do Katie and Steve share in this dimension?

ELIAS: Forty-two.

JIM: You agreed that I had a focus who would feel undressed without a revolver or rifle at hand, yet you identified my relationship with Tully Simms as that of observing essence. That leaves my gunfighter focus unidentified. Would that focus be a Texan who died during the siege of the Alamo, known as Red Parsons, first name Randolph?

ELIAS: Yes.

JIM: Heís aligned Zuli, common orientation, political focus?

ELIAS: Yes.

JIM: Was he a member of the Texas Rangers, as they existed at that time, and was he assigned a patrol area in what is now Hidalgo County?

ELIAS: Briefly, yes.

JIM: Was he the son of a cattle rancher, and grew up on a ranch north of Hidalgo County? I get Falfurrias as the town nearest the ranch. Is that correct?

ELIAS: Correct.

JIM: I have him associated with the La Lomita chapel, somehow. Was he familiar with the chapel, and were he and the chapel padre good friends?

ELIAS: Not necessarily what you would term to be good friends, but they did incorporate a friendly acquaintance.

JIM: Is the chapel padre a focus of Liam, known as Brother Juniper or Jupiter? I donít know which one. Iím mixed up with that.

ELIAS: Juniper.

JIM: Aligned Milumet, common orientation, religious focus?

ELIAS: Emotional.

JIM: A dedicated and caring man, well-liked by his parishioners?

ELIAS: Correct.

JIM: Was my feeling of disappointment in the chapel as I saw it influenced by Red Parsonís memory of it?

ELIAS: Yes.

JIM: I suspect that my wife treasures the picture of the chapel that my father painted more because of the influence of Brother Juniper than because my father painted it. Is that a fairly accurate assessment?

ELIAS: Yes.

JIM: Was Red influential in my move to Texas?

ELIAS: Somewhat.

JIM: Did part of my dissatisfaction with the Mission area arise because of the difference between what I saw and what Red Parsons knew of the area?

ELIAS: Yes.

JIM: Is Tully Simms a focus of either Jene or Jale?

ELIAS: Jene.

JIM: Was Biffy Smith born in the area of New Orleans that later became known as Storyville? Was he the son of a prostitute?

ELIAS: Yes.

JIM: Did he grow up and learn his piano playing in a brothel?

ELIAS: Partially, yes.

JIM: In reading about Storyville, several names of people in the story seemed familiar. The name Josie Lobrano, in particular, seemed very familiar. Am I observing essence of Josie?

ELIAS: Yes.

JIM: Do I have a focus who was a prostitute in Storyville during the time of its legality, and is her name Eloise Jardinier? She is known as Louise.

ELIAS: Correct.

JIM: She aligns Ilda, common orientation, emotional focus?

ELIAS: Yes.

JIM: She chose to experience syphilis but died of pneumonia. Does my feeling of sadness with regard to the picture of an ill prostitute stem from Eloiseís death experience?

ELIAS: Correct.

JIM: Do I have another focus who is a prostitute named Heidi?

ELIAS: Yes.

JIM: I donít think she is associated with Storyville.

ELIAS: No.

JIM: I got Heidi Bellanger confused with her, didnít I?

ELIAS: Yes.

JIM: I awoke on one morning with Maria and her fetus in my mind. Was there any particular reason for my attention being on her at that timeframe?

ELIAS: What is your impression?

JIM: I donít know. Was there a crisis of some kind for her?

ELIAS: Not necessarily a crisis, but an intensity.

JIM: I feel that Maria has not disengaged as of this timeframe. Is that correct?

ELIAS: Correct.

JIM: Does she still carry the fetus?

ELIAS: Yes.

JIM: How many months pregnant is she?

ELIAS: And your impression?

JIM: Iíd say about seven.

ELIAS: Slightly less.

JIM: I believe that she grew up in a suburb of Milan called Rho, R-H-O. Is that correct?

ELIAS: Correct.

JIM: Is she still living there or has she moved?

ELIAS: Moved.

JIM: Did she go to Rome or in the Milan area?

ELIAS: Presently in the area of Milan.

JIM: Is Dominic still living near Rome?

ELIAS: Yes.

JIM: I have been trying to project love to Maria. Have I been successful, and has she been able to use the energy beneficially?

ELIAS: Yes.

JIM: I have a feeling that I dropped and bent my upper partial denture in order to meet my new dentist. Is that the case?

ELIAS: (Laughs) Quite efficient!

JIM: I get the impression that my old dentist unknowingly cooperated by making me furious enough to change dentists. Did he?

ELIAS: Correct! Ha ha ha!

JIM: My new dentist is quite familiar to me. Have we shared other lives?

ELIAS: Yes.

JIM: How many in this dimension?

ELIAS: Twenty-six.

JIM: I associate the word ďswashbucklingĒ with her and assume that applies to a male focus of hers in another life that we share. Is that the case?

ELIAS: Yes.

JIM: I believe that we are brothers and swordsmen in that life, and our surname Aubergier. My focus name is Rene and her name is Robert, Robert being the older?

ELIAS: Correct.

JIM: Robertís personality is quite down-to-earth, somewhat surly, and Reneís personality is more freewheeling?

ELIAS: Yes.

JIM: Robert taught Rene the use of the rapier?

ELIAS: Correct.

JIM: Is that in France, in the 1700s?

ELIAS: Early, yes.

JIM: Was that in Brest, by any chance?

ELIAS: Near that location.

JIM: Is there a younger brother named Raoul, who entered a monastery and eventually become a priest?

ELIAS: Yes.

JIM: Is my dentistís current father a focus of Raoul?

ELIAS: Yes.

JIM: May I have my new dentistís essence name?

ELIAS: Very well. Essence name, Alliare, A-L-L-I-A-R-E.

JIM: How many focuses does she have in this dimension?

ELIAS: Eight hundred thirty-one.

JIM: How many of those are contemporary?

ELIAS: Six.

JIM: More than Iíve got! (Elias laughs) How many focuses does she share with her father?

ELIAS: Eighteen.

JIM: I feel that she belongs Gramada, aligns Tumold in this life, common orientation and thought focused.

ELIAS: Political.

JIM: I have the impression that in another life we are associated through music. I believe the location is in Moscow, Russia, and timeframe of Tsar Nicholas III. Is that correct?

ELIAS: Correct.

JIM: I get an association with opera, an opera company. Is she a singer in that focus, a contralto, named Olga Azarov? She is known for her gorgeous singing voice, and is buxom?

ELIAS: Correct. (Laughs)

JIM: Aligned Sumari, intermediate orientation, emotional focus?

ELIAS: Correct.

JIM: Am I a pianist in that focus, and my name is Piotr Ravenov or Ravelov?

ELIAS: Flutist.

JIM: Which one? Ravenov or Ravelov?

ELIAS: The first.

JIM: Aligned Milumet, common orientation, emotional focus?

ELIAS: Correct.

JIM: I thought as a pianist I served as an accompanist for Olga for practice. It doesnít seem as though that would be the case with flutist.

ELIAS: But you also do incorporate the piano. It is not your main instrument.

JIM: In that life, are we lovers?

ELIAS: Occasionally.

JIM: I believe that I have a focus named Gail Winslow. Do I?

ELIAS: Yes.

JIM: What spelling is correct on that? Is it G-A-I-L or G-A-L-E?

ELIAS: The first.

JIM: Thatís what I got first but I wasnít sure of it. I get the impression that she is a dream designer. Is that correct?

ELIAS: Yes.

JIM: The term I get is dream weaver. Is that more accurate?

ELIAS: Yes.

JIM: Is that something similar to what we would consider a novelist?

ELIAS: Somewhat. In a different capacity, but yes.

JIM: Does she record dreams on something similar to the tiles that people are creating for the City?

ELIAS: Yes.

JIM: Does she record in terms of conceptual and empathic sense data?

ELIAS: Yes.

JIM: I place her in the time frame in the mid-2200s in relation to my timeframe

ELIAS: Correct.

JIM: In her terms, is the current moment of awareness identified in relation to the completion of the Shift, the way we now use day/month/year in relationship to the Christian myth?

ELIAS: Yes.

JIM: Was it Thomas Beevan who suggested the change in date designation?

ELIAS: Bevan, yes.

JIM: I see Madeline Kochs and John Sweeney, among others, using this date designation, but Iím not sure that Hermione Hess does. Does she? (Pause)

ELIAS: At times.

JIM: I see Gail living in the asteroid belt in a habitat assembled from belt debris. I get the habitat as somewhat spherical with a diameter the size of a large city and growing. Do I have that right?

ELIAS: Yes.

JIM: In her dream designing, does Gail translate impressions from the same dimension that I do?

ELIAS: Yes, partially.

JIM: The character of Angela Gardson has turned out in a way that makes me think that she is a focus of mine. Is she?

ELIAS: Yes.

JIM: I believe that she is a contemporary of Hermione Hess. Is that the case?

ELIAS: Yes.

JIM: Sheís a black woman who lives in or near Cairo, Egypt?

ELIAS: Yes.

JIM: Is she a counterpart of Helena, the oracle?

ELIAS: Yes.

JIM: Does she align Milumet, soft orientation, emotional focus?

ELIAS: Yes.

JIM: I see her as a delightful person, full of fun. Is that about right?

ELIAS: Yes.

JIM: I have depicted her as clairvoyant. Is she?

ELIAS: In a manner of speaking, yes.

JIM: In my story, she is drawn to another focus of herself, and thus, of me. Does that actually occur?

ELIAS: Yes.

JIM: Is that other focus named Marcia Mackerer?

ELIAS: Yes.

JIM: Does Marcia actually create a Department of Psychic Sciences or something like that in some university?

ELIAS: Yes.

JIM: Is she aligned Milumet, intermediate orientation, thought focused?

ELIAS: Yes.

JIM: In my stories, she communicates in trance with the personality of a long-dead tribal leader. Does something like that happen?

ELIAS: Yes.

JIM: Does the identity tone of the essence that she connects with translate approximately as Jahana, or is that a personality name?

ELIAS: You are correct.

JIM: It is an essence name?

ELIAS: Yes.

JIM: I suspect that I have a focus who is a coloratura soprano. Do I?

ELIAS: Yes.

JIM: (Emotionally) Iím sorry. This is the one that shakes me up. I get an association with Delibesí ďLakmeĒ with her. Am I Lily Pons?

ELIAS: Yes.

JIM: Do I have a focus that died in the Hindenburg disaster, whose name is Otto Klinger, a dirigible crewman, a steward?

ELIAS: Correct.

JIM: Aligned Ilda, common orientation, emotional focus?

ELIAS: Correct.

JIM: Did he burn to death in the disaster?

ELIAS: Yes.

JIM: I suspect that my fascination with news reports of the disaster was influenced by Ottoís experience. Is that the case?

ELIAS: Yes.

JIM: Was my early unreasoning fear of fire stem from Ottoís death?

ELIAS: Partially, yes.

JIM: Was my reaction to the Russian invasion of Finland during the 1930s influenced by Ingrid Toyagaís experience of that invasion?

ELIAS: Yes.

JIM: Was she raped by Russian soldiers during their occupation of Finnish territory?

ELIAS: Yes.

JIM: Did Ingrid assist me in writing that story about her?

ELIAS: Yes.

JIM: Was my attraction to Caroline Miller influenced by shared focuses?

ELIAS: Yes.

JIM: What was Carolineís essence name?

ELIAS: Zelda, Z-E-L-D-A.

JIM: Oh! Iíve got another of Zelda. How many focuses do we share? In this dimension, obviously.

ELIAS: Forty-one.

JIM: Does she belong Vold, align Zuli, common orientation, political focus?

ELIAS: Correct.

JIM: Does Caroline have a focus who is one of the girls purchased and used by Antonius?

ELIAS: Yes.

JIM: Did that focus influence her interaction with me?

ELIAS: Somewhat.

JIM: Is Caroline still in transition?

ELIAS: Yes.

JIM: Something about the German pocket battleship Admiral Graf Spee attracted my interest at the time of its futile Atlantic sortie. Do I have a focus named Hans von Neuman who is a crewman on the Graf Spee?

ELIAS: Yes.

JIM: Is he an officer?

ELIAS: No.

JIM: Aligned Ilda, common orientation, thought focused?

ELIAS: Correct.

JIM: Was he the officer given the task of scuttling the battleship? (Pause)

ELIAS: Not entirely.

JIM: He settled in Brazil?

ELIAS: Yes.

JIM: Do I have a focus who was a bombardier on a Boeing Flying Fortress during WW2?

ELIAS: Yes.

JIM: Is his name John Delancy, born in Bemidji, Minnesota, in 1919?

ELIAS: Yes.

JIM: Aligns Ilda, common orientation, thought focused?

ELIAS: Yes.

JIM: Did he participate in a raid on Stuttgart where his plane sustained combat damage, lost engines, and either the tail or the turret gunner was killed?

ELIAS: Correct.

JIM: He participated in a raid on DŁsseldorf and his plane was shot down? He parachuted to safety and was interned, but he died of flu in the internment camp.

ELIAS: Correct.

JIM: Do I have an American infantryman focus named Charles Lantham who died during the Battle of the Bulge in WW2?

ELIAS: Observing.

JIM: Aligns Vold, soft orientation, emotional focus?

JIM: He was armed with a rocket launcher, disabled a German Tiger tank and was hit by return fire? He died during medical evacuation.

ELIAS: Yes.

JIM: I believe that I have a focus named Olga Karamazov. I see her in Stalingrad during the siege. Is that the right timeframe?

ELIAS: Yes.

JIM: Sheís part of the Red Army defenders, and I think that her rank is equivalent to U.S. Army corporal or sergeant. I believe that she has something to do with supply, a quartermaster position?

ELIAS: Correct.

JIM: Aligned Vold, soft orientation, emotional focus?

ELIAS: Political.

JIM: That makes sense. She is a spy for the KGB?

ELIAS: Ha ha ha! Yes.

JIM: She caused the arrest of at least one Red Army officer. Had the officer offended her personally?

ELIAS: Yes.

JIM: Her connection with the KGB was discovered, and she was murdered by army personnel?

ELIAS: Yes.

JIM: In regard to the mulatto woman who bore Jethroís children, is her full name Amelia Fairilee?

ELIAS: Correct.

JIM: May I have her essence name, please?

ELIAS: Essence name Bebe, B-E-B-E.

JIM: Does she belong Borledim, align Milumet, common orientation, religious focus?

ELIAS: Yes.

JIM: Fatherís name is Malcolm, who is a sharecropper, like Jethro, but grew cotton instead of peanuts as Jethro did?

ELIAS: Correct.

JIM: I asked you if Mary OíFlarrity belonged Borledim and aligned Vold and you said no and to continue investigation. The Borledim part has to be right, therefore Vold is a distortion. Does she align Ilda?

ELIAS: Yes.

JIM: I think that my fear of heights and of falling is influenced by Henri Duvalier. Do I have a focus with that name?

ELIAS: Yes.

JIM: He was born on the island of Martinique, a black man?

ELIAS: Correct.

JIM: Aligned Ilda, common orientation, political focus?

ELIAS: Yes.

JIM: Is he a sailor on a privateer commissioned by the French to harass British shipping?

ELIAS: Yes.

JIM: Did he fall to his death from the shipís rigging?

ELIAS: Yes.

JIM: From the character of Ma Lin who appears in my story, I suspect that I have a focus with that name who lives in China, Chinaís Hunan province. His life occurs early in the 1800 timeframe. Do I have such a focus?

ELIAS: Yes.

JIM: Is he a merchant, as I have depicted him?

ELIAS: Yes.

JIM: I see him as being a healer, which implies Tumold alignment. Does he align Tumold, soft orientation, thought focused?

ELIAS: Yes.

JIM: Did he actually do or attempt to do healing?

ELIAS: Yes.

JIM: Iíve been thinking about how I was able to help Muriel when she disengaged. You have said about final focuses that all focuses of an essence disengage when a final focus disengages. Is that true?

ELIAS: Yes.

JIM: This simultaneous disengagement is independent of physical life timeframes, is it not?

ELIAS: Yes.

JIM: In that case, then I must disengage simultaneously with Muriel and all the rest of the Bevan focuses. Is that correct?

ELIAS: The simultaneity of that is somewhat relaxed and not as absolute as it may seem, for it may occur within what you would term to be a close timeframe.

JIM: That would be from the subjective point of view. Is that correct?

ELIAS: Clarify.

JIM: In the objective point of view, you have the timeframe, and in the subjective point of view, I assume you do not. Is that correct?

ELIAS: Somewhat, but the objective and the subjective are not separated. Therefore, both do incorporate an involvement with time if you are physically focused.

JIM: Iím going to be confused here, but Iím going to ask these questions anyway. My assistance to Muriel must have been offered after I had disengaged, even though I am aware of it while still slogging my way through life. Is that the case?

ELIAS: Yes.

JIM: That will clarify a little of that. You have said that her projection of energy to me was post-disengagement. Was it my personality that directed that energy to a specific timeframe in my life, or was it Murielís?

ELIAS: Yours.

JIM: Am I of assistance to any of my other focuses immediately following disengagement?

ELIAS: Yes.

JIM: Are any of assistance to me?

ELIAS: Yes.

JIM: I have had some further impressions regarding the dream in which you introduced me to Madeline Kochs. In the dream, I sort of drifted across a hillside of plowed ground. I believe that plowed field symbolized physical life. I see that as symbolizing reality turned upside down in order that new growth may arise. Is that a valid interpretation?

ELIAS: Yes.

JIM: At the top of the plowed field, I could see people moving around, apparently paying no attention to me at all. Were these people other focuses of myself or was there another meaning to that symbolism?

ELIAS: Other focuses.

JIM: At the end of the field, I came to a cliff that appeared to be frighteningly high to jump from, yet I jumped and landed softly on grass. I believe that cliff represents disengagement and indicates that it appears much more frightening than it is. Is that a reasonable assessment?

ELIAS: Yes.

JIM: My encounter with you and your introduction of me to Madeline came after landing on the grass, and I believe that this symbolizes my meeting with Madeline and all the rest of my fellow focuses after disengagement.

ELIAS: Correct, yes.

JIM: Iíve been trying to bring in a little bit more information on Aishah. Is she aligned Ilda, common orientation, thought focused?

ELIAS: Yes.

JIM: I associate the music of Rimsky-Korsakovís ďScheherazadeĒ with her. Is Rimsky-Korsakov observing essence of Aishah?

ELIAS: Partial, yes.

JIM: In one of my stories, there is a sequence which I think was influenced by an event in her life, which was the loss of her maidenhood to the prophet. Is that the case?

ELIAS: Yes.

JIM: I had the vague impression about Bahaullah that I might be observing essence of him. Immediately I thought I heard you say, ďwife.Ē Was that you?

ELIAS: (Laughs) Yes.

JIM: Am I creating or observing essence of that wife?

ELIAS: You are observing.

JIM: Iím not getting much about her. Would you be willing to give me her name, or do I have to investigate?

ELIAS: (Laughs) But this is actually a challenging game for you, my friend!

JIM: Iíll see what I can do. Am I observing essence of Bahaullah?

ELIAS: Yes.

JIM: In the screen play that I translated for an inmate, is his contention valid that Jesus of Nazareth had at least one wife? (Pause)

ELIAS: Yes.

JIM: Was Mary Magdalene Jesusí wife, as the inmate contends?

ELIAS: No.

JIM: If not, did Jesus have a wife whose name was Mary?

ELIAS: Yes.

JIM: Is she a daughter of Lazareth?

ELIAS: No.

JIM: Is she a focus of mine?

ELIAS: Yes.

JIM: Is Jesusí wife aligned Borledim, soft orientation, emotionally focused?

ELIAS: Yes.

JIM: Did she accompany Jesus on his travels?

ELIAS: At times.

JIM: Did she outlive him dying in India?

ELIAS: Yes.

JIM: Iíve been trying to recognize Madeline Kochsí energy since we have agreed that she is objectively aware of and projecting energy to me. What I have come up with is a scene of two people, both female, sitting at a table in an outdoor cafť, probably on Aruba. I feel that Madeline sits facing me or rather my perspective of her. Is that her I see?

ELIAS: Yes.

JIM: I see her as middle-aged, somewhat similar in appearance to one of the pictures of Marina Tarasova that I have. Do I have that right?

ELIAS: Yes.

JIM: Is the woman with her named Kathryn Rangel, a focus of my first wife?

ELIAS: Yes.

JIM: Does she align Milumet, soft orientation, political focus?

ELIAS: Correct.

JIM: Is she assisting Madeline in projecting energy to me?

ELIAS: Somewhat.

JIM: The colors in my image of Madeline are very faint and those of the two women mostly gray. Is this a case of identity protection that you described to me?

ELIAS: Yes.

JIM: I would like to allow myself to hear her voice. Is there a reason that I am not allowing that?

ELIAS: That also may be an automatic restricting of yourself in association with identity.

JIM: Hans Schmidt and Amanda Cooper seem to be with me every time I sit down for a meal. I can see why I would be open to Amanda at mealtime, but it doesnít quite make sense to me why I would also open to Hans, unless itís the about the only time my hands are free to drum his cadences. Would that be the reason?

ELIAS: (Laughs) Yes.

JIM: Associated with Hans, I get the vague impression of an array of black boots shuffling along. Is that because Hansí attention is on those boots?

ELIAS: Ha ha ha! Yes.

JIM: Thatís what I thought. Is (name omitted by request) the girl who co-starred with Muriel in that movie?

ELIAS: Yes.

JIM: Was she seventeen or younger at that time?

ELIAS: Yes.

JIM: Could I have her essence name? (Pause)

ELIAS: Essence name, Sonny, S-O-N-N-Y.

JIM: Does she belong Sumari, align Vold, soft orientation, emotional focus?

ELIAS: Correct.

JIM: Lives in Calwa?

ELIAS: Yes.

JIM: Did Muriel bring that name to my attention?

ELIAS: Yes.

JIM: Were they lovers?

ELIAS: Briefly.

JIM: Could I have the essence name of Betsy, the librarian? (Pause)

ELIAS: Essence name, Ullie, U-L-L-I-E.

JIM: Does she belong Borledim, align Gramada, common orientation, thought focused?

ELIAS: Yes.

JIM: How many focuses does she have in this dimension?

ELIAS: Nine hundred thirty-four.

JIM: How many are shared with me?

ELIAS: Twenty-six.

JIM: How many are shared with Mariana?

ELIAS: Twenty-nine.

JIM: Do I have a focus who is a timpanist, whose name is Piotr Ivanovich? He is with the Moscow Symphony Orchestra, and his life spans the middle part of this century.

ELIAS: Yes.

JIM: Does he align Sumari, soft orientation, emotional focus?

ELIAS: Yes.

JIM: Is he a counterpart of drummer-boy Hans Schmidt?

ELIAS: Yes.

JIM: Do I have a focus who is an Australian aborigine?

ELIAS: Yes.

JIM: Female, and her name translates approximately to New Moon?

ELIAS: Correct.

JIM: Aligned Borledim, soft orientation, emotional focus?

ELIAS: Yes.

JIM: Was this focus influential in my fascination with a story about an Australian walkabout?

ELIAS: Yes.

JIM: When a particular fragment of music starts running through my head, I suspect that there is some significance behind it. Iím thinking now of Cesar Franckís ďLe Chasseur Maudit.Ē In this case, I donít feel that itís Franck. Do I have a focus who is a chasseur Š cheval?

ELIAS: No, but you do incorporate an observing essence role, and you also do incorporate counterpart action.

JIM: Is that focus named Claude Montcrief, timeframe in the early 1800s?

ELIAS: Yes.

JIM: Aligned Zuli, common orientation, thought focus?

ELIAS: Correct.

JIM: Served in Algeria as a regimental officer, and took an Algerian woman as a mistress?

ELIAS: Correct.

JIM: She bore him three children, two boys and a girl?

ELIAS: Correct.

JIM: She is a focus of Liam?

ELIAS: Yes.

JIM: Aligned Sumari, soft orientation, emotional focus?

ELIAS: Correct.

JIM: I had a dream where my attention was drawn to a number of small cars shaped like ladybugs. They were all black without ladybug markings. Was that shape meant to call my attention to ladybugs as a symbol?

ELIAS: Yes.

JIM: Did the cars symbolize movement?

ELIAS: Movement, delicacy and gentleness.

JIM: Are ladybugs a dream trigger for me, like my owls?

ELIAS: Yes.

JIM: Iíve been trying to puzzle out the symbolism in another dream. The main feature of the scene that I saw was a sealed glass container containing what appeared to be very colorful slices of fruit in a liquid of some sort. The colors were more vivid than in any dream that I can remember. Does the container of fruit symbolize inner knowledge as perceived from an objective viewpoint?

ELIAS: Yes.

JIM: In the dream, I felt that the contents of the container were available to me if I allowed myself to attempt access. Was I telling myself that I was denying myself the fruits of my own knowledge?

ELIAS: No, you were offering yourself an encouragement that you can access your own knowledge if allowing yourself that openness, which you are already.

JIM: In the dream, I felt that I didnít know how to penetrate the container. Was this symbolism to encourage me to learn?

ELIAS: Yes.

JIM: I suspect that the entire scene was symbolic encouragement to me to use abilities that I have neglected. Is that the case?

ELIAS: Somewhat, but also an encouragement to continue your exploration and merely expand it.

JIM: There was another symbol above the fruit container that I canít quite recall, but I associate it with you. Is that a correct assumption?

ELIAS: Yes.

JIM: There were some more symbols at the bottom but I canít remember anything about them. I was not at all conscious of my body during this dream. It was as if I had none. Was that a reflection of my normal state in non-physical existence?

ELIAS: Yes.

JIM: I have been reading a portion of Seth material in which, as I understand it, he describes basic reality in terms of intensity, quality and value. I think that I understand intensity and quality, but I canít get an intellectual grip on value. Is value objectively understandable?

ELIAS: Yes. Value is understandable objectively, and it is expressed in most of what you do.

JIM: Weíve run out of time, Elias. Iíve got more questions. Iíll have to have another session.

ELIAS: (Laughs) Very well, my friend!

JIM: Itís been great talking to you, and I appreciate it very much what youíve helped me with here.

ELIAS: You are very welcome, my dear friend. And I shall be, as always, anticipating our next discussion. Ha ha ha!

JIM: Me too.

ELIAS: I shall be offering my energy to you in encouragement and supportiveness as always.

JIM: Thank you.

ELIAS: In tremendous friendship, affection and appreciation to you my friend, au revoir.

JIM: Au revoir.

Elias departs after 1 hour.


< Previous session | Go to the top | Next session >


© 2005 Mary Ennis, All Rights Reserved.