Friday, August 05, 2005
“Imagery and Focuses”
Participants: Mary (Michael) and Peter (Stefan).
(Elias’ arrival time is 14 seconds.)
ELIAS: Good evening!
PETER: It’s evening to me and morning to you! Well, not really for you. (Elias laughs) It’s been some time since I last spoke to you.
ELIAS: And what have you been creating in your adventure?
PETER: Well, lots of things! Plenty of conflict, I should note.
PETER: And trauma, though I’m sure I’ll get to speak of that. (Elias chuckles) But the first thing I want to speak to you about was, it is about 18 months, in my terms, since we last spoke, and I had a problem getting the tape that Mary and her friends sent out from my session. In fact, I’ve had a problem getting two copies of the tape now. Obviously, it’s clear to me this is a creation where I suppressed the receipt of this information. I wanted to ask you, what was the reason I was suppressing the information? I actually recently got the tape, buy why did I suppress the receipt of the information for so long?
ELIAS: I would express that it would not necessarily be suppressing or blocking, but rather allowing yourself a time framework in which your attention was occupied in other directions and allowing yourself to create that recording in a time that was most beneficial.
Rather than creating the reception of that recording immediately – in which you may have incorporated the action of listening to it, but not necessarily genuinely listening to it – in creating this delay in receiving it, you allowed yourself a time framework in which you would be more receptive to re-engaging our conversation.
PETER: One of the things from that session that I wanted to also touch with you was that I had provided myself with some information about, in my terms, an immediately adjacent timeframe in terms of another focus, and this was related to problems my daughter was having at the time. In that information, there was some discussion about a cousin of those focuses, who is a parent of mine now, and I’m trying to verify that information and had considerable difficulty. Why would that be?
ELIAS: What was your motivation?
PETER: An interesting question – what was my motivation? Well, I don’t know what my motivation was, but I do know that in the intervening time period, I identified feelings related to my father, issues related to a sense of betrayal related to things in this timeframe or this focus. You also made a comment in that last session about not carrying things on from that focus into this one or being able to let go of that. My sense was that it related to this comment, this same feeling. Is that a correct interpretation or...?
PETER: If so, was my father in that timeframe, in that other focus?
PETER: In that focus, I felt betrayed by him having left in some fashion.
ELIAS: Yes. But remember, this is a natural action that you all engage, in drawing similar experiences of other focuses and the energy of those experiences to yourself in this focus, for it emphasizes and in some manner enhances the experience that you are choosing and creating in this focus. At times, that can be quite beneficial, for it focuses your attention in certain subjects that may be an issue that would be significant for you to evaluate and alter your perception, or it may encourage you to generate more of a movement into acceptance.
But at times, individuals may incorporate that energy which enhances experience in their own focus in a manner that merely reinforces some element that is conflicting in their focus. In which, if generating that type of situation, the individual is not incorporating the energy in a manner to offer themselves information but merely to feed the conflicting situation. Are you understanding?
PETER: I am. A similar example of this sort of effect, I take it, would be my sense of obligation in this focus at times to my elder daughter. I presume I felt the same or a parent’s sense of obligation to her as my sibling in that time framework, but at times a resentment that goes with that obligation.
ELIAS: Yes, which is significant that you allow yourself to evaluate and genuinely address to. For obligation is a powerful expression, and generally speaking, creates a type of expression, energy and environment which is contrary to what you want.
In expressing obligation, you discount yourself for you discount your own freedom, you deny your own choices, and you discount the other individual for you, generally speaking, shall also express somewhat of a blame in relation to the other individual, for you are experiencing and feeling the role of victim in association with that obligation.
In this, you do not actually benefit or support another individual in generating this type of expression and energy in which you express that obligation. Therefore, in a manner of speaking, it thwarts your own efforts to be accomplishing what you want. That may be to be generating a supportive and encouraging role with the other individual, but the expression of obligation overrides that and changes it for it changes your energy, which does not express a supportiveness.
PETER: I want to now ask you about something, a more positive element, in the intervening time since we last spoke. I developed, probably about a year ago, a very great and almost near-obsessive passion for the music of a music group from the 60s and 70s called The Band. In fact, as part of this evolution of this passion, it led me to actually take up learning guitar this year. When I did that or associated with that, I also released some sense of the passion for the music of The Band, although I very much enjoy it.
One of the things I sensed at that time was that I was related in a focus to one of the members of The Band, a gentleman whose name is Richard Manuel. My sense was it was not as a directing focus but as an observing essence. Is that a correct assessment, and are there other aspects in terms of my attraction to that music?
ELIAS: Yes, you are correct, and you also engage counterpart action with other members of the group.
PETER: When you say I engage counterpart action with other members, do I engage that counterpart action as this focus of me now, or in that focus of Richard?
ELIAS: No, you in this focus incorporate counterpart action with other members also, which would also be an influence in your attraction to the compositions and your attraction to the manner in which this group of individuals created that music. For in generating a counterpart action, you also participate in the experiences subjectively of the other individuals.
PETER: Is it for the same reason much earlier in my life I was strongly attracted to the music of Bob Dylan, who was an associate of these individuals as well? Is it the same sort of connection?
ELIAS: Counterpart also, yes.
PETER: You piqued my interest on this. Is the counterpart action a general movement of energy in consciousness, or is it quite specific of me and my energy counterpart, or am I actually a counterpart to them?
ELIAS: Every counterpart action is specific. In this, each individual that generates counterpart action with other individuals has chosen those individuals purposefully, for that is the interest or the exploration of the individual. Perhaps the individual is not choosing to engage these experiences themself but does incorporate an interest or latent qualities within themselves. In generating a counterpart action with other individuals that are actually engaging an action that you as the other individual may not necessarily engage yourself, it offers you the experience and the interconnectedness with those experiences and allows you a partial actual involvement in the experiences – which enhance your experience and also can serve as inspiration for you to be engaging certain qualities of yourself that you may not have engaged previously. It may not be precisely the same type of experience that you choose to engage, but it is somewhat of an awakening through inspiration of different qualities that you express that perhaps have been latent pastly. Are you understanding?
PETER: As an example, this being my taking up guitar earlier this year?
Now; you may have generated many different types of actions, tapping into many different qualities that you possess in this focus but have not necessarily exercised to this point. It may have been with any particular instrument, or you may have engaged the action of writing music or lyrics, or you may have engaged the quality of singing. You tap into a latent quality that you incorporate within this focus, which is inspired by that counterpart action, which encourages you to engage more of your own abilities and express more of yourself and more of your qualities.
PETER: And I’m correct that with Richard Manuel, I was not a directing essence but observing?
PETER: While we’re talking about counterparts, I recently had what I understand would be a bleed-through in relation to a focus of a young woman in China, a contemporary, living in this time framework. My sense of her was simply that she did not have a family, and she, as part of her life, had a longing to understand what it meant to have family. I encountered this bleed-through at a time when I was having some frustration with having a family. I just wanted to see if you’d comment on that. Was my picking up the bleed-through accurate, and is this an example also of a counterpart action between two focuses of the one essence?
ELIAS: Yes to both questions – which can also generate a reminder of what you value and what you appreciate.
PETER: It certainly did that. (Elias laughs)
I wanted to now move to an element that has been, and I guess continues to be, a source of plenty of conflict for me and an element of trauma. Of course, like many individuals, it surrounds the wonderful element of money.
I developed a financial trade system, which was operating fine and nicely, and then I subsequently departed from the application of the system and got myself into a whole load of financial bother in result: lots of self-deceiving, fear of loss, great fears, etcetera. I got a sense of, through that process, of the issue of – how can I say this – of how, when you think you’re focusing on something positive, your concentration can actually be on the negative or be driven by a fear of the opposite. Through that concentration, that’s what you create, which I think is what I did. My question is, if my aim is still to create more money, how do I not fall into the same, shall we say, trap?
ELIAS: By being aware of what you are actually doing and being aware of your energy and whether you are generating an energy of cooperation or whether you are generating an energy of opposition – opposition not being necessarily with other individuals or situations, but with yourself.
In this, your greatest indicator of what type of energy you are projecting is paying attention to what you are actually doing, or not doing. For in that, what you THINK may be, at times, somewhat deceiving, for it may not necessarily be accurate, or it may not necessarily be complete.
Remember, your thoughts are a mechanism to translate your communications; but if your attention is not upon your communications, your thoughts may not accurately translate to you. This is the point in which many individuals become confused and are unclear in association with what they want or in what they are actually doing, for they move their attention to thought and their thinking may not necessarily be clear or accurate. This is the reason that it is important to be paying attention to what you are actually doing, and in that, to be present with yourself in your awareness in the now, in your day.
In this, within any moment you incorporate many, many, many actions simultaneously, but you may not necessarily be objectively aware of all that you are doing in one moment. For generally speaking, individuals automatically look to the surface physical action and can identify that, but generally speaking do not incorporate an awareness beyond that surface physical action.
An individual may express to myself, if I inquire what are you doing in this moment, they may respond and express to me, “I am sitting within a chair. I am listening to you speak.” Yes, those are two actions that the individual may be incorporating, but they are also generating other actions simultaneously that they may not necessarily be aware of objectively.
It is not that you cannot be aware; it is that it is an unfamiliar action. But the more you are generating an awareness of what you are doing and what you are communicating to yourself in any moment and being aware and present with yourself, that generates more clarity, in which you shall be aware of what type of energy you are projecting and whether you are generating an energy of opposing or whether you are generating an energy of cooperation. Let me express to you, there are many actions that occur within your day that you may not necessarily be clearly identifying but are significantly influencing and creating certain types of energy expressions.
Opposition may be expressed in many manners. Comparing generates opposition; defensiveness creates opposition. There is an element of opposition that is expressed in acquiescing, which you may initially think to yourself if you are acquiescing or if you are compromising you would not be generating an opposing energy. But in actuality, there is an element of opposition in compromise and in acquiescing, for you are opposing your own choices. You are not allowing, and you are denying your own choices. You are, in a manner of speaking, altering yourself to fit with a particular situation or with another individual’s wants or choices.
Therefore, in many situations that you would not necessarily identify yourself as generating an opposing energy, you actually are and can. This is the reason that it is important to be aware of what you are actually doing in any time framework. As you begin to notice slight alterations that are not in keeping with your preferences, allow yourself to notice and evaluate what are you doing that is creating the beginnings of alterations of your movement.
Also pay attention to your communications. If you are generating resistance or hesitation, you shall express a communication to yourself. It is important to pay attention, for these are your signals to indicate to you that you are deviating from the direction that you want. All of this information is available to you and is not hidden. It is merely a matter of genuinely paying attention and not becoming distracted. Distraction may be beneficial in certain situations, but in other situations it may be an obstacle and it may be a hindrance.
In your situation, in your focus, in all that you have created, there is much potential for distraction. Therefore, it is significant that you be aware of how you are directing your attention and whether you are directing your attention. Not doing is an action also. Therefore, it is important to be aware of what you are doing and what you are not doing.
In this, being aware of the significant potential that you incorporate for significant distraction in many different manners, you may be distracted by events that are occurring within your home. You may be distracted by your children and your role with them; you may be distracted with your partner. There are many different factors that can easily distract your attention and therefore move it outside of you, in which you involve your attention with a situation or another individual to the point in which you are no longer paying attention to you.
PETER: I would next like to ask you in relation to something else I’ve noticed, which is I seem to create, in what is a pleasingly aesthetic manner, the symbolization of three females around me a lot. I have in my family my wife and two daughters. I’m sitting looking at three female figurines that I picked up in Africa. I’m looking at a painting that has three female characters in it, and there is another one elsewhere in the house. Why do I keep creating the imagery and the presence of three female figures?
ELIAS: This is, in a manner of speaking, symbolic. It is symbolic of several different elements. It is symbolic of three elements of you, in a manner of speaking, three aspects of you: what you do, what you think and what you communicate. It is also symbolic of three qualities that are significant and that generate balance, which are playfulness, strength and gentleness. It is also symbolic of harmony. The number three has been a symbol of balance and harmony throughout your history in many, many, many philosophies, and therefore incorporates a significant symbology.
The element of the imagery of the females is also significant symbolically. For in association with this shift, the energy within your reality is shifting from that of the male, intellectual, to the female, intuitional. There is also an association with female as gentleness. The female also symbolizes those three qualities of playfulness, gentleness and strength. There is also an element associated with female energy of nurturing. Therefore, in your appreciation for all of these qualities and your underlying knowing within yourself that this is what you aspire to generate within you and allow to be expressed, that balance, that harmony and the beauty of the freedom to be generating gentleness, playfulness and strength. You draw these symbols to yourself, in a manner of speaking, as a reminder of these qualities and the value that you place upon them.
PETER: This kind of dovetails into something else, which is actually a lot of conflict. We recently were on holiday, and I had an element of conflict with the children, as I tend to do. I think we’ve talked about that in previous sessions. It relates to issues of my beliefs associated with parental responsibility in place of our relationships. As a consequence of that conflict, I felt depressed and not good enough and all those sorts of things. Coming back to work, when I came to my parking space, it was blocked by another car so I couldn’t get into there. When I got into the office and set up my computer, it wouldn’t work and then subsequently blew up on the technician there. I had to, for that day, sit at another desk. When I was sitting at this other desk, I felt very lightheaded and drifty.
I want to inquire in particular in relation to the symbolization of the blocking of the car and the computer blowing up, which I interpret as being my ambiguity in relation to work itself. I was symbolizing blocking myself or stopping myself from doing work. The sitting and feeling lightheaded and quite drifty, I’m not sure what that was at all, so I’d like to ask you about that, and also ask you to what degree I will continue to experience the level of conflict and trauma through this shift, or is it going to lessen?
ELIAS: (Laughs) That would be your choice, would it not? I would be encouraging of you to be lessening trauma and conflict, and allowing much more of your freedom and paying attention to those qualities that you admire and that you symbolize around you in generating that playfulness and gentleness and strength.
I may express to you, my friend, remember: if you are generating significant conflict or interference or obstacles in one direction within your focus, that shall filter into other directions also. This is the reason that it is significant to pay attention to those conflicts and those interactions or actions that you are generating, and to be evaluating and addressing to them, for that is not isolated and unaffecting of other directions that you engage.
The blocking of the space is one element of imagery of restricting yourself; the action with the computer is another element of imagery of stopping yourself. The action of becoming what you term to be lightheaded or drifty is actually an element of communication that you were presenting to yourself, imagery of allowing yourself a lighter energy and one that is more flexible, not so very serious, and to balance the strength with gentleness, to allow that flexibility, to allow yourself not to be viewing and perceiving all of your reality as so very dire, as so very black and white, but to engage relaxing and engage more of your creativity, allowing yourself to be more at ease.
Your focus of attention need not always be so stark. At times, it is beneficial to allow yourself somewhat of a de-focusing, to allow you to break concentration in certain directions that are familiar but that also generate tension. Therefore, you engaged an action which also expressed imagery as an example to you that at times it is actually purposeful and beneficial to de-focus yourself somewhat, and allow yourself more of a flexibility and allow yourself to relax, rather than incorporating such seriousness and rigidness.
ELIAS: I am greatly encouraging of you, my friend, to be engaging some serious playfulness! (Laughs)
PETER: Well, the guitar is expressive and playful and...
ELIAS: Yes. (Chuckles)
PETER: That’s a positive.
I now want to just quickly, there are a couple of things – we have a little bit of time – I want to offer some tiles for The City.
ELIAS: Ah, very well!
PETER: When I got these tiles, it was a little bit of time ago, but I did write them down at the time. The first tile is a blue-green water image of rippled lines in a simple cross pattern. My interpretation of its meaning or value is of expansiveness and calmness of All That Is, but its action is not static.
ELIAS: Correct. And so be it inserted!
PETER: My next one is – and I had forgotten this one until I picked up this paper or this file that I had written it on – a twisted rainbow-colored ribbon. It’s a connection, union of two separate pieces but joined to form one whole continuum.
ELIAS: Yes. Duality that creates interconnectedness and complement.
PETER: The third one that I have is a yellow five-pointed star with the bottom half of that star raised out from the surface, raised edges. I call it Tessa’s Star. That’s my young female niece who we spoke of before and you told me I’ve had many focuses with. I call it Tessa’s Star because it is reflective of both optimism and action.
ELIAS: And confidence, yes.
PETER: So I have those three tiles for the City.
PETER: The next thing I wanted to touch on is my sister-in-law’s mother is currently in a deep coma and is in the process of disengaging from the current focus. I wonder if there’s anything I can carry or communicate to my sister-in-law potentially from her mother. I don’t know how well information through you would be received, but that would help my sister-in-law through her experiences through this process.
ELIAS: Very well, one moment. (Long pause)
You may express to this individual that her mother is already embarking upon a new adventure. She is aware of what she is choosing. She is also not experiencing discomfort, but in actuality is directing her awareness to other experiences presently.
I may express to you, this individual has projected most of her awareness away from the physical body consciousness. It is not entirely, but most of the awareness has been projected and is generating other experiences without the physical body. This is quite similar to the action of what you term to be an out of body experience, in which the individual is projecting their awareness objectively and subjectively outside of the physical body consciousness.
Now; in this type of action, that projection of energy can be incorporated for an extensive time framework, for there is a continued element of the subjective awareness that is associated with the body consciousness to continue to sustain it somewhat. But the curiosity of this individual to be exploring new directions and the curiosity concerning new experiences that are unknown is considerable. She expresses quite a fascination with exploring other types of experiences and is already engaging that action.
Therefore, although I am aware of the daughter’s grief and the daughter’s longing to not experience separation, you may also express, if you are so choosing, that even in death there is less separation than you think, and there are manners in which there can be continued interaction. But temporarily, the individual is more preoccupied with new explorations.
PETER: Thank you for that, and as you have sensed, I have a certain amount of trepidation in saying anything to her because I am not sure that the information would be well received, or well received in this time period.
ELIAS: I am understanding, and this also may be an exercise for you to be paying attention to time framework and what may be most beneficial, and incorporating a genuine sense of timing with the other individual in relation to her energy, and in that, engaging your intuition to choose the most beneficial and acceptable timing.
PETER: Thank you for that.
ELIAS: You are quite welcome.
PETER: I want to quickly touch on a number of bleed-throughs that I’ve had. We have spoken of one already, the Chinese young lady in the current time framework.
PETER: I want to touch on a couple of few more and just see whether my impressions are correct. The first is a woman, I do not know what the time framework is, but she was cast out from her home. I see her sitting in a doorway. When I had this bleed-through, it was probably the first one I had, I had problems with my leg, and that was associated with her horse going lame when she was cast out from wherever she was living.
The second one is a soldier who forms the view that conflict is pointless, and at that point he is killed by a spear in the back from his superior. Sometimes I get a pain in the back in the same area, and I wonder whether that is re-expressing conflicts or...?
PETER: Or whether I’m just making the statement of being stabbed in the back. (Elias chuckles)
The next one is an Indian merchant – I think I am the Indian merchant – that killed his mother, and that mother was another focus of my young niece, Tessa. Is that a correct assessment?
PETER: And was her current mother, in this focus, her beau of earlier years in that focus as an Indian?
PETER: I had an image of the mother in this focus as the beau in that focus, riding on a white horse. Is that purely imagery or was that an actual...?
ELIAS: An actual event, yes.
PETER: But he was not my father.
ELIAS: In what capacity?
PETER: Her mother in this timeframe was her beau in that timeframe, but not the father of me in that time.
ELIAS: Correct. Yes, you are correct.
PETER: I also had a bleed-through of a native American Indian, and that association or that bleed-through was in the sense of me understanding and appreciating an element of brotherly camaraderie of certain Hassidic Jews that I was sitting with in this time framework. I couldn’t relate to them, but then I had this bleed-through and could understand them, associated with the brotherhood that I had in that North American Indian focus.
ELIAS: Yes, which also has been somewhat beneficial to you in generating more of an expression of acceptance of difference.
PETER: In this focus, I feel quite an element of being separate, but also being happy with the sense of separateness, solitude, and I felt an echo of that in the native American Indian.
PETER: Again, with my young niece Tessa, I have a sense of being young lovers with her, but I’m not sure. It feels sort of like well-to-do young lovers in maybe France or Europe during sort of the Renaissance or the period of the 1700s to 1800s perhaps.
PETER: Was it France, or...?
PETER: And she was the male and I was the female.
PETER: I’ve had contact with a lady about 12 months ago and her young daughter, and I had the sense that that lady had been – I had quite an unusual attraction to her – that the lady had been a southern gentleman or soldier and the father of her current daughter, and I was in some way associated with her current daughter in that focus and she did not approve of me. She didn’t view me as good enough for that child.
PETER: With my current wife, Leah, was I lovers with her in the American South in the 1800s?
ELIAS: Early 1800s, yes.
PETER: Was I female or was I male in that one?
PETER: Oh, sorry, just back on the life in India with my niece Tessa where she was my mother and I murdered her, is her reaction to me at times if I criticize her, where she freezes still, is that because of that fear or related to that life?
ELIAS: Partially, yes.
PETER: I was in England a few months ago, and in the hotel I was in, I think I had a dream in which I saw a black couple in a bathroom. When I was in England, I was visiting a very old friend. My sense was that that couple was other focuses of myself and that friend, and that they are contemporaries, that they are a black American couple in the U.S. today, fairly well to do. My sense was that they were actually in that same hotel room. Is that correct?
PETER: Interesting. Why does an action like that occur? Is it like a harmonic creation of combining of the various focuses that they would occupy the same space in similar time frameworks?
ELIAS: You all occupy the same space arrangement! (Both laugh)
PETER: You know what I mean.
ELIAS: I am aware. (Laughs) At times, you may generate this type of experience in which, if you are expressing more of an openness in a particular moment, you may allow yourself to be open to tapping into other energies that are associated with you. You were allowing an openness in that time framework of yourself, and also in association with your friend, that generated more of a calm atmosphere – not necessarily physically calm but within energy calm, which allows for more of an openness of an awareness of other elements of yourself that are connected to the situation that you are creating.
At times, this may appear to be what you term to be deja vu, in which you think you have revisited an experience that you have created in another time. In actuality, you are overlapping experiences, in a manner of speaking superimposing two experiences upon each other simultaneously. What you allowed in this experience was somewhat similar, allowing yourself to superimpose the experience of the other individuals, recognizing their connection to yourself and your friend, upon the experience that you were generating yourself.
Therefore, it is a type of bleed-through, but it is different from a bleed-through of other focuses within other time frameworks, for this is more of a superimposing of experiences upon each other, which is an expression of the interconnectedness and the lack of separation.
PETER: I have a lot more I could ask you about in relation to all this, but I know that our time is up, so to be fair to Mary and the task this is on her, I would like to thank you for your time, whatever it is (Elias laughs), and thank you very much for what you shared with me, and bid you a fond adieu.
ELIAS: Very well, my friend. I shall be anticipating our next conversation, and I shall be offering my energy to you in strength, in encouragement and in supportiveness in your endeavors. I am greatly acknowledging of you, my friend. In tremendous affection and genuine appreciation, au revoir.
Elias departs after 1 hour, 5 minutes.
© 2005 Mary Ennis, All Rights Reserved.