Tuesday, December 21, 1999
ďBalancing Objective and SubjectiveĒ
ďMass Beliefs: SmokingĒ
Participants: Mary (Michael) and a new participant, John (Rrussell).
Elias arrives at 10:12 AM. (Arrival time is 19 seconds.)
ELIAS: Good day!
ELIAS: And you have inquiries this day?
JOHN: Yes, thank you. I should like to begin with a dream I had.
It may have been five or six years ago actually, when I was in Iceland. I went to a concert. It was a symphonic concert, and maybe four or five measures into the piece Ė it was a beautiful piece of music Ė I sort of ran out of the auditorium crying, and my date followed me behind and asked me what was wrong, and I said I was crying about the music being so joyful. I donít quite have the words for it. It was really very joyful, and I was crying. Also, I was sort of expressing that it was almost as if there was no more music to write, and Iíve never been quite sure what to make of the dream.
ELIAS: I shall express to you that this is an experience that you have allowed yourself in this focus which would be a bleed-through, in objective terms, of another focus that you hold in essence in this particular dimension.
In this, you are not the individual that composed the piece, so to speak, which has invoked this emotional response within you, but you do hold involvement in a type of relationship with the individual that has composed that musical composition.
Therefore, in a recognition of that focus and the energy projected in that focus and the emotional quality of the expression which is offered in that particular musical composition, you have also responded and allowed yourself to be incorporating this bleed-through in energy. Are you understanding?
JOHN: Yes. Aha! Yes, thatís very interesting. Iíve always felt a draw towards music, but very often I will try sitting down in front of some paper, and Iíll be completely at a loss as to what it is Iím actually supposed to be writing. I donít actually bother to move in that direction anymore. I enjoy listening to music. I care much less about actively trying to write it.
ELIAS: Let me also express to you that as you have allowed yourself this opportunity within your dream imagery, you may also easily access information concerning other focuses of your essence in this dream state, for you allow yourself more of a mobility within that dream state, and in this, you allow your objective recognition to carry over, so to speak, into your waking state, and allow you the remembrance of the emotional qualities that accompany the imagery within your dream state.
JOHN: Yes. Yes, exactly.
Moving on, I have had several series of dreams where Iím actually married, and I thought maybe I could very briefly describe each one, because I think they tie together. But maybe if you could point me in some key directions as to what, again, to make of these. Some of them are a couple of years old at least, and some are more recent.
One, when I was married and in a hotel, and I must have been in my thirties. I was playing hooky from a conference of some sort that was downstairs, and my wife and I Ė or I presume she was my wife Ė were having a fun time, drinking champagne and dancing about.
There was another dream where I was entertaining some guests with my wife, and we lived in a flat that was very sort of cavernous, a very stylish house, and I excused myself from the room and wandered down the corridor, and I was looking in the mirror in the bathroom and I saw my reflection, and I must have been in my forties, no hair, and my skin had almost this supernatural glow to it, very sort of ... I donít know, actually. It was quite a supernatural glow. I have no other word to describe it.
And another, but I donít know if itís a dream. Itís just some sort of image that popped into my mind. It was mid-afternoon, and the blinds were closed in the bedroom. It was late, and my wife would sort of wake me up, and she was getting ready, and she was playfully coaxing me out of bed, and I was playfully reluctant, and she told me very lovingly, ďCome on. We must get ready. The invitations have already been sent.Ē Those are the dreams. Iíll leave it to you.
ELIAS: Very well. What you are presenting to yourself in this type of imagery is the underlying recognition, in emotional expression, of contentment and joyfulness.
Now; in this, your representation of this union of marriage is an offering in imagery to yourself of the presentment of yourself; not necessarily yourself with another physically focused individual, but of yourself and the harmony that you shall offer to yourself in allowing yourself this type of recognition of union in an expression of acceptance with self, objectively and subjectively.
Now; as you offer the balance of the objective and the subjective, you also create a similar action as to that which you image as the union of marriage, and in this, you provide yourself with the recognition of the radiance of self, and therefore allow yourself an appreciation.
This is also imaged in the surroundings, so to speak, or the environment that you place yourself within in these particular dreams, for you provide yourself with imagery that is suggestive of comfort and what you identify in physical focus as happiness, contentment.
In this, you also offer to yourself an element of waiting.
This imagery is the information that you are providing yourself with, in that you have not allowed yourself to be entirely attaining this union and this balance yet, but that you are actively engaging this process, and therefore are acknowledging of yourself.
JOHN: Aha. Yes, itís something I should have seen and should know. Itís something Iím heading towards now.
ELIAS: Quite, but let me also express to you, do not be discounting of yourself. Within physical focus, to this point, you are quite familiar with the action of complicating all of the scenarios within your focus, even your dream imagery. Therefore, as you do not look to the simplicity of your dream imagery, many times the imagery itself, in what you term to be its meaning, may escape you, so to speak, objectively.
JOHN: Ah, yes. I must look at the big picture, so to speak, rather than looking at each one and trying to add them up and coming up with a mishmash, when really itís more obvious than that.
ELIAS: Ha ha ha!
JOHN: I see, yes. I shall simply continue to move on with my list, if itís alright, and if you could point me in the direction of a few key issues about England, America, and my desires about travels, and also work, because all four of them are sort of sitting together at this point, at this time, and thereís a lot of decisions Iím in the process of making, or in some cases have made, and itís something that should be fairly obvious to me. Somehow Iíve clouded the issue, so if you could perhaps point me in the direction of unclouding the confusion about these issues and how they work together.
ELIAS: Let me express to you first of all that an element of your movement or your desire for movement, and your desire for interaction with other individuals in an expression of offering and in an expression of curiosity, is an element of your intent in the alignment with the Ilda family in this focus. This is quite influencing of your movement and your desires.
The individuals that align with this particular family incorporate movement and a variety of interaction with situations and other individuals, for they are exchangers, and in this, there is an offering of exchange of philosophies, ideas, cultures, and many different types of expressions in situations and circumstances. Therefore, you naturally draw yourself to this type of expression.
I shall also express to you that I am encouraging of this action in your focus, for as you move in a direction of restraint in this type of action, you shall also be incorporating elements of conflict within your focus, for you naturally move in this type of an expression.
JOHN: Ah! I should think Ė you mentioned the alignment. I should think, essence family, Sumari?
ELIAS: Essence family, you are correct; alignment, Ilda.
JOHN: Orientation, soft?
ELIAS: You are correct.
JOHN: Ah, I thought so. Very interesting. Iíve got some very sort of hodgepodges and all sorts of questions ... okay, this is weird. Itís rather curious, but I was just telling Mary, Iím working through the Internet industry, although Iím not always particularly excited about technological developments and programming and all these bloody technical details.
ELIAS: Quite! And....
JOHN: I like it much more simple, but it seems to be the direction things are moving in. Things are really leaning towards technology and megahertz and all these terms that donít always excite me.
ELIAS: I am quite understanding of your expression and this is quite understandable, for within your intent in this focus and your family alignment, this is not the area in which you hold your attention in this focus. Your intent moves you in the direction of expression of exchange of physically focused individuals, not machinery. Ha ha ha!
JOHN: Yes, of course.
ELIAS: But let me also express to you that in this, you incorporate an element that is reminding to other individuals that you, as physical focuses within this dimension, are the actual exchangers, and not the technology, so to speak.
JOHN: Yes, yes. Youíve spoken before about lacks in motivation. However, I think I do lack motivation, particularly in sorting out work for next year, and whilst I can say ďfineĒ and feel comfortable not going about things as actively as I had planned or had hoped for, I canít help but think sometimes that this lack of motivation is not really timely. I really think I should be sorting out the details, and I go to sort them out, and it doesnít fall together, and I donít feel like doing anything. (Pause)
JOHN: I shall have to phone ... Iíll phone you back straight away. My phone card has run out, unfortunately.
ELIAS: Very well. I shall speak with you momentarily.
BREAK: 10:31 AM
RESUME: 10:33 AM. (Arrival time is 10 seconds.)
JOHN: Yes. My previous question. Did you ...?
ELIAS: You were addressing to a lack of motivation.
JOHN: Yeah, and to timeliness, or un-timeliness.
ELIAS: Or perhaps NOT untimely, for within this time framework, it may be quite beneficial to you to be incorporating a relaxation and an allowance within yourself to not be moving quite so quickly.
In this, you may allow yourself more of a clarity, so to speak, in your choices of probabilities, rather than moving into certain choices hastily that you may be creating in the midst of confusion.
JOHN: Like investment banking, say.
ELIAS: In one respect. Let me express to you that you are allowing yourself presently a recognition of energy which is being expressed in extreme intensity.
Now; in this and in the expression of your individual focus and your natural movement in your focus, you may automatically lean into this type of energy movement and allow yourself to be flowing with that energy in quickness and in intensity, but let me also suggest that this creates an element of confusion and not always the objective result, so to speak, that you may view as satisfactory.
Now; I am not expressing that mistakes may be incorporated, for you do not create mistakes. But you may be dissatisfied with certain objective results, so to speak, in the movement that you create as you lean into the intensity of the waves in consciousness which are occurring presently.
This creates an element of impatience, and in that impatience, there are automatic responses in energy that are created which divert probabilities that you have already engaged, and therefore there is an alteration of the outcome.
JOHN: Probabilities that Iíve already engaged?
ELIAS: Correct. There are directions that you engage in desire which you have already set into motion, in like manner to many other individuals presently Ė lines of probabilities Ė but the expression of impatience and the thought process that you should be moving quickly within your energy and your expression of your direction creates a diverting of your attention, and also interferes with the energy that you have already projected in the lines of probabilities that you desire.
Therefore, my suggestion to you is to be noticing that you are creating a lack of motivation quite intentionally, that you shall slow your movement and allow yourself more clarity and less confusion within this time framework.
JOHN: Aha. I canít help but ask what these probabilities are.
ELIAS: You have moved in a direction of desiring changes within your movement in your interaction with other individuals. You incorporate a desire for exploration, and in this, you also incorporate a desire for expansion, not merely of your awareness of self, but within your experiences also. You wish to be creating more of a diversity in your experiences and playfulness in your exploration of your experiences. This be the reason that you do hold a curiosity and a motivation in the area of travel.
Therefore, I shall express to you, you are not experiencing what you objectively identify as an entire lack of motivation. You are merely incorporating a lack of motivation in certain areas, and this is purposeful.
This allows you to turn your attention into these areas that you do hold motivation and that you do hold curiosity and desire, and allow yourself to be expressing a trust of self that you do hold the ability to be creating this type of movement in actualizing these desires, and therefore moving yourself into an exploration of your curiosity and an incorporation of more fun.
JOHN: Hmm. So I must be far ... it is difficult, in a way, to understand why I couldnít do these things tomorrow. Thereís a certain time delay. Iíve been working through a process of achieving these things rather than ... like Iím going out tonight, and I had fun last night! But Iím not exactly sure what this time delay and processes are that you mentioned.
ELIAS: Let me express to you that the reason there is an incorporation of process is merely that you believe this is necessary. Were you so choosing and allowing yourself the trust in self, you would need no process, and therefore you may in actuality incorporate this type of movement spontaneously immediately.
JOHN: Hmm ... yes.
ELIAS: You merely present yourself with obstacles or limitations as influenced by your beliefs that you must be incorporating the process to be achieving certain goals.
JOHN: Yes. I should diversify, and specify less what the goals are, but rather find something more ... yes, I know exactly what you mean. Yes, okay.
ELIAS: It is not a question of ďshould,Ē but merely a willingness to be allowing yourself the trust of self, and knowing that you may in actuality accomplish any of your desires if you are so choosing.
JOHN: Yes, thank you. Iím going to move on to a couple of other bits on my list, one very briefly about smoking. I feel as though Iím succumbing to some sort of mass pressure to either stop smoking or get ill, frankly, and itís rather frustrating. I enjoy smoking, and itís interesting because people smoke here more often than they do in say America. I literally feel more healthy smoking, with more people who smoke here, than I do in the United States, where very often, in restaurants, they canít bloody smoke. But I donít know. Maybe I should simply stop smoking. Maybe itís not worth the bother, trying to step outside of some of these mass belief pressures.
ELIAS: I shall express to you that this be your choice, although I may offer you an explanation concerning this particular issue, as well as many other issues presently.
This is a mass belief, as you are aware. In actuality, as I have stated previously, you may be incorporating this activity and it shall not be harmful to you, or it shall be harmful to you if you are incorporating the belief that it shall, for you shall actualize what you believe.
Therefore, it matters not which you choose, to be incorporating this action or not to be incorporating this action. If you are offering yourself a pleasurable experience and you incorporate no conflict with this action, then I express to you, why shall you discontinue?
I shall also express to you that this may be an example to you, in objective terms, of the differences in expressions of mass beliefs within different cultures and different societies, for within other societies, this action is incorporated also with much less attention and much less conflict.
But within the culture that you are addressing to, in that of the expressed United States, you are correct. There are many expressions that the culture en masse deems to be unacceptable. This particular cultural society is incorporating more and more and more of a narrowing of their acceptable expressions. This....
JOHN: Yes, yes. I feel a certain dread in going to New York city. On one hand, Iím very much looking forward to it, and on the other hand, I really have to carve out a niche for myself if I smoke or drink or have a glass of wine in the middle of the afternoon!
ELIAS: Let me express to you also that there is within this culture what you may identify objectively as a counter-culture occurring simultaneously, which incorporates quite a different direction of attention and is much more allowing of many different expressions.
This all moves quite in conjunction with this shift in consciousness, as individuals magnate more and more for a time framework to elements that are familiar to them, as they also incorporate a fearfulness of the unfamiliar and change, in objective terms.
But let me be encouraging to you also individually, in conjunction with your intent and your natural expression in alignment with the exchange. In this, you may be allowing yourself to fully express freely your objective offering of difference, and therefore may be allowing yourself to be objectively influencing, in conjunction with your subjective influence Ė which is also in alignment with the dream imagery that we have expressed earlier Ė in your movement into the balance of the objective and subjective expressions, and as you allow yourself to be objectively incorporating this offering of exchange of cultural influences, you also lend energy to the movement, in objective terms, of this shift in consciousness.
JOHN: Yes, thank you.
ELIAS: You are quite welcome.
JOHN: You mentioned previously, when we were speaking of music and I brought up my dream ... Ravel, Maurice Ravel, was once offered to me as a sort of relation. Is this correct?
ELIAS: This is a focus that you participate with; not that you are manifest as this individual, but you do hold relationship to this individual, and in this, you express a type of intimacy which offers you an expression of emotional mergence with this individual.
JOHN: Yes, and we hold counterpart action. Is that the term?
ELIAS: Yes, you are correct.
JOHN: Interesting. Letís see, where shall I go next? My essence name; Iím curious.
ELIAS: Essence name, Rrussell; R-R-U-S-S-E-L-L.
JOHN: Aha. Interesting. Thank you.
Can you tell me about a woman named Carrie? She and I met a couple of years ago, and studied very briefly the violin, and a really interesting sort of interaction was going on there. Iím not quite sure how to describe it. It was a lot of small coincidences, but by the same token, I sort of understood her in all sorts of ways. There was definitely some sort of extra-usual interaction going on there. Iím not sure what our relationship is.
ELIAS: Within this focus, you have offered yourself this experience to be incorporating, in objective terms, information to yourself of the reality of things unseen, so to speak.
You have allowed yourself in this experience to be opening a door, in a manner of speaking, which allows you more of an openness to be objectively accepting and incorporating different elements of abilities and of movements of consciousness and energy that you may not have allowed yourself as quickly were you not engaging this experience.
JOHN: Aha. Are we moving toward any sort of counterpart action or what have you?
ELIAS: No. This is an interaction that you have allowed yourself for the reason of instruction, in objective terms.
JOHN: Ah, I see. And Daniel? You know Ė sorry, if I may cut in Ė itís curious. Iíll bring up Daniel, and another friend Randy, and Chris, and yes, we were having fun, and itís very interesting. There was a sort of game we used to play, in coming up with odd sorts of combinations of words, and it was very funny, and it usually takes some alcohol to really appreciate. But things like ďfrozen death platformĒ and ridiculous combinations of words Ė ďmud flapsĒ Ė and theyíre really amusing. Daniel and Randall are very, very good at this game, and I must say, Iím not very good at the game because Iím not exactly sure what the rules are. Whatís going on with that game? What are the dynamics involved?
ELIAS: Ha ha ha! And why shall you concern yourself with the rules?
JOHN: Because itís interesting. I can take those rules and try to apply those rules in other situations and come up with something new.
ELIAS: Ah, or you may apply the lack of them! Ha ha ha! Which allows you more of an expression of freedom, and this be the fun!
JOHN: Hmm. Aha!
ELIAS: Aha! (Laughing)
ELIAS: And this be your answer! Ha ha ha!
JOHN: Okay. Letís see here. Iíve had many dreams, but hereís one interesting bit here. Itís a dream about being a James Bond sort of character, a spy off the coast of Australia. What was I getting at there, or what was I creating there?
ELIAS: This is merely another expression of imagery which offers you an objective identification of your alignment in this focus Ė that of the Ilda family Ė and the participation naturally in the choices of travel and exchange, and also the offering to yourself in this focus of excitement in your curiosity and an incorporation of fun, which you naturally move into, although at times you do create a movement of limiting yourself in your objective expression of this.
JOHN: Hmm, yes. Thereís thirty seconds left on the phone card, but I think our time is up anyway. But Iíll phone back at least to speak to Mary. Thank you very much for this session.
ELIAS: You are very welcome, Rrussell, and I offer to you great affection. I shall also express to you quickly, be remembering, if you will, of a focus within your late 1800s in your present country. Au revoir.
Elias departs at 11:04 AM.
To correspond with John, please contact:
© 1999 Mary Ennis, All Rights Reserved.