Wednesday, March 15, 2000
ďClarifications: The GameĒ
Participants: Mary (Michael) and Lynda (Ruther).
Elias arrives at 12:19 PM. (Arrival time is 26 seconds.)
ELIAS: Good morning!
LYNDA: Good morning, Elias. Nice to hear your voice, Elias. (Elias chuckles) May I give you some impressions? And then I would like to talk to you about some belief stuff I am identifying. Is that okay?
ELIAS: Very well.
LYNDA: Okay. Is my essence a dispersed essence? (Pause)
LYNDA: Okay. Do I have what you identify as a Dream Walker aspect? (Pause)
LYNDA: Okay. Can I describe what I think is a tile ... well, Iíve got two tiles here. Can I describe them to you quickly, and then give you my impressions?
ELIAS: You may.
LYNDA: Okay. The first tile looks like the table top I painted at my house in Glendale about six or eight months ago. Itís white in the middle, and then there are elongated rectangular shapes that are rounded at the edges, and the colors going out from it are ... Iím not quite sure of the order, but Iíll just say that itís white in the center, blue, yellow, red, green, lavender, and an indigo kind of cobalty-blue, and those colors repeat themselves out on this tile in elongated rectangular shapes that go out and get bigger, and I think itís a tile of the Sumalfi family, and I think the interpretation of the tile is that itís a beacon within and without. So, how does that sound to you?
ELIAS: Very well, and shall you enter this tile in connection with your game?
LYNDA: Yes, and I do have questions about the game, but first I want to know if that is the tile of ... am I correct in this tile?
ELIAS: Let me offer to you an explanation that it is not a question of whether you are correct or not, for you are correct, for as you allow yourself to connect, in a manner of speaking, with your impression, and you allow yourself to become aware of your impression objectively, you create the tile. Therefore, you may not be incorrect.
LYNDA: So really, the tile reflects ... so literally, I am creating it. I just created it. I just created this, so itís neither good or bad or right or wrong. It is what it is.
LYNDA: And it is, I feel, a reflection of this me. This focus of attention, Lynda, is contributing ... contributing is not the right word. You know what I mean. This is what I am doing.
LYNDA: Okay. Thatís good. Thatís what I wanted to know....
ELIAS: NOW, let me express to you that in relation to the game, you may be entering this tile within the game, and there exists the possibility that you may attempt to be entering this within the game in a less probable category, so to speak.
LYNDA: Oh, so itís less probable.
ELIAS: No, this is not what I am expressing. What I am expressing is, the tile itself is what you have expressed. It is what it is. You have created it. Therefore, it may not be incorrect, for it is created. The action of the tile is what you have expressed.
Now; beyond this, you may choose to be entering this tile into your game or not. Now; if you are choosing to be entering the tile into the game, there is a specific alignment of that tile to a specific color or essence family; which, as you have already identified this tile as an expression of a specific essence family, I may suggest to you that it may appear obvious which essence family it shall align with within the game. (Pause)
LYNDA: Forgive me. Iím confused. Does that mean that it is not necessarily the Sumalfi family?
ELIAS: It is a representative tile of the Sumalfi family. There is no alignment within the game for the Sumalfi family, for this is a subdivision of Sumafi.
ELIAS: Therefore, where shall you place the tile?
LYNDA: I guess I better create a place for the Sumalfi family ... oh! Underneath ... as a subgroup of the Sumafi family!
LYNDA: In the game, on the board, you mean, literally.
ELIAS. Correct, yes. One point. (Lynda cracks up) Ha ha ha!
LYNDA: Yay, I get a point! Oh boy! (They both laugh) Youíre so real. I love it! Thank you very much. I will enter this into the game, and oh goody! So the colors themselves are correct, and the order that I put them in, does that matter that much? That is the order that I put them in, so thatís what I am going to say, right?
LYNDA: Okay, goody. Can I ask you about another tile?
ELIAS: You may.
LYNDA: This tile or this impression is what I got in the last couple days. It is blue, and it looks like a flag. The design looks like three wide bands of color waving. The middle is yellow. The upper right part is blue, and the blue is ďElias blue,Ē Iím going to say, like when I think of you or the blue dots I get. Itís kind of your blue, a little deeper, and then red. Separating the colors is like a black rope, and there are two black ropes. The interpretation I got of the tile is, a shift in perception. I donít know quite what to do with that, but I wanted to ask you if it was pertinent. What exactly was that?
ELIAS: Quite. This is an offering of your impression in relation to the movement of energy addressing to perceptions presently in relation to this shift in consciousness. The imagery that you present within this tile, as to the flag which appears to be waving or in motion, is symbolic of the movement of perception and its changeability. The offering of different colors is the recognition of the differences of perception as influenced through the three orientations.
LYNDA: Ah. Wow. Thereís been so much interaction that Iíve been having with learning the languages of those three orientations lately, so this is confirmation of that physical, objective action that I am taking.
LYNDA: And when I say ďIí ... you know Iím common ... not common, but of common orientation. Everything translates to ďme me me Al Franken,Ē which is okay with me, by the way.
ELIAS: Very good!
LYNDA: Okay, so can I enter this in the game?
ELIAS: You may.
LYNDA: So the colors represent the three orientations. So is blue ... will you tell me? Well, Iím gonna take a crack at it. This is what I should do. Blue would be soft, yellow would be common, red would be intermediate? (17-second pause)
ELIAS: Yes, you may translate in this manner.
LYNDA: And the black lines would be the least amount of distortion/Sumafi. (10-second pause)
ELIAS: So noted.
LYNDA: Cool. So noted. Okay, so Iím gonna enter that in the game.
ELIAS: And where shall you place this within the game?
LYNDA: Oh, I get it. Where am I going to place this within the game? I think Iím going to put it under the Sumafi family.
LYNDA: Now, whatís the difference between one point and acceptable?
ELIAS: Both may be translated in your terms as correct.
In physical translation, as I offer the response to an individual of one point, what I am expressing to the individual is that their offering of their connection within the game is the primary position of probability. As I offer the response of acceptable, this is the translation that your entry fits, in a manner of speaking, in that category or with that alignment, but may not necessarily be the primary probability or entry.
LYNDA: Can I give you an impression, to add to what you just said?
ELIAS: You may.
LYNDA: How about if I tie it into the Sumalfi rather than the Sumafi family? (Pause)
ELIAS: Let me express to you, I shall address to a misunderstanding.
Any tile or any entry that you may choose to be placing within the game, regardless that it may be connected to a subdivision family, in a manner of speaking, would be placed within the alignment of one of the nine main families. Therefore, it would not be less probable for the reason that it would be entered within the primary expression of the essence family rather than creating a new alignment of a subdivision family.
What I am expressing to you is, let us hypothetically express that there may be five entries that may be placed within a particular category in alignment with a particular color and essence family.
Now; one of those five entries is the primary, most probable entry. The other four also fit into that category and that alignment of essence family and color, but may not necessarily be the primary entry. They are not incorrect. They are equally as correct, in your terms, as the primary entry. They are not the most common entry, in another manner of speaking, but they are no less correct, in your terms, than the most common entry. Are you understanding?
LYNDA: Well, yeah. Youíre speaking in very simple terms, and Iím somewhat convoluting it, because itís very simple. I think itís way simple, what youíre saying. Thereís nine essence families, and then thereís subgroups, and itís not lesser or more. Itís placement or something. It just is what it is. Is that what youíre saying?
ELIAS: Let me offer to you in what you may view as a more objective manner. Let us express, there are nine essence families associated with nine colors, and in this, there are many different categories. Hypothetically, let us express that there may be one category of childrenís toys.
In this, you may choose a toy, and you may express the toy to be a ball. You may express, the toy is a baseball, and you may place this entry of the baseball in alignment with the blue color of the Sumari family.
Now; I may express to you acceptable in your entry, for the most common probability to be placed as an entry in that particular category associated with that color and that essence family may be a bouncing ball.
Your specification of the baseball aligns and is acceptable. It matters not that it be associated with a subdivision family of the Sumari. It shall continue to be entered in alignment with the Sumari family, for that is the encompassing alignment of all of the entries associated with the Sumari family and all of its subdivisions.
The distinction is the entry itself and its alignment in probabilities with the particular category and expression of family and vibrational quality of color.
Therefore, there may be five different types of balls that may be entered in the category of childrenís toys within the alignment of the blue and Sumari family, and one of those five different types of balls shall be the most common probability, and therefore shall be the primary entry. The other four balls may be entered also, and they shall be equally correct in their placement. They are merely not the primary position.
LYNDA: Okay. (Elias chuckles and Lynda cracks up) Okay, so let me just throw in this little bit of stuff with regard to the orientation tile that I just described to you that you said was acceptable.
The orientations cover, of course, all the families. Everybody in each of the nine essence families chooses to manifest as one of these three orientations. So, it seems like the tile I just described to you has a more encompassing ... or just relates to all of the essence families, but my distinction of the least amount of distortion and of a shift in perception ties it specifically to the Sumafi.
LYNDA: And youíre saying that thatís acceptable, although this is a rather wide subject in itself Ė the orientations. Do you understand what Iím saying? Itís a general overview sort of tile.
ELIAS: Quite, and I am understanding.
Now; let me express to you a further explanation, that you may understand why this is not the primary positioning of this entry.
It shall fit into alignment with this color and this essence family in the category of the tiles, for you have created the distinction of the element of the least distortion. Therefore, it shall fit, so to speak, in that placement within the game.
The primary position of this entry Ė which I shall offer to you Ė in this creation of this tile would be in relation to all of the essence families. Therefore, I shall express to you, in your viewing of the game, there are three other alignments for all of the categories that are not associated with an individual color or an essence family. This tile would fit, in the primary position, in one of those three categories.
LYNDA: And Iím gonna go look that up after we talk, and Iíll see what I come up with the next time we talk. Howís that?
ELIAS: You may.
LYNDA: Oh goody! Thatís what the game is then. Oh goody, Iím playing the game!
ELIAS: Ha ha ha ha!
LYNDA: I donít want to take up more time with this, but I will ask you, for the sake of the game, to give me a brief description of the Sumalfi family for the record, and for Ronís website. I could ask you now if itís not a whole big thing, or I could ask you next time. Iíll leave it up to you.
ELIAS: It is your choice.
LYNDA: Well, I want it now, (laughing, and Elias chuckles) if you donít mind ... and you donít have one. I forgot. Gíhead.
ELIAS: I shall express to you that the qualities held in intent by this subdivision of the Sumalfi family are similar to those of the Sumafi family, although there is a slight difference in the expression of energy, in the direction of attention, with this subdivision of this family. In this, individuals that are belonging to this particular subdivision would not be expressing in physical manifestation the intensity of repetitiveness.
The Sumafi family holds a quality of what you may term to be extreme repetitiveness. The Sumalfi family deviates in this expression of repetition. In this, an individual that is belonging to this particular family would not be experiencing the same type of repetition in their creations within physical manifestation that those individuals of the Sumafi family shall create.
I shall express to you, individuals within the Sumafi family choose specific designs in how they are creating of their reality.
Now; if you are allowing yourself to be in what you term to be in-depthly investigating this action, you shall avail yourself of information that these individuals continuously throughout their focuses repeat their method, so to speak, or their design in how they create their reality. There is little, if any, deviation from these designs throughout the entirety of the focus.
This is the quality that the Sumalfi family does not incorporate, this continuance repetition, which is the design, so to speak, or the direction of the movement within the manifestations of individuals within this physical focus. This creates quite a significant difference, in actuality, for it creates more of a type of movement in less of a rigidity, in a manner of speaking.
LYNDA: I understand that ... or flexibility?
ELIAS: In a manner of speaking.
LYNDA: Right. I understand what youíre saying, because I see the difference in my own life. I thought it was ... the Vold alignment adds another element of lots of objective changes in my life, but I understand also where the Sumalfi is more ... in my focus, where itís manifesting is in the way I physically relate to people, which I also know is the common thing. I have an ease in relating and in moving around ... well, not so much lately! But anyway, yeah, I think I am understanding what youíre saying as I relate to it personally, and in the other focus information I have gotten about me, it seems to be a thread, a similar thread, if that makes sense.
ELIAS: I am understanding.
LYNDA: Okay. Thank you very much, Elias.
ELIAS: You are quite welcome.
LYNDA: You are very nice. That was very nice. I have one more impression, and then I am going to give you a brief identification Ė I hope itís brief, I am going to try to make it brief Ė of what I have been going through with mass beliefs related to sexuality, and then I will talk to you in two weeks. Is that okay? Oh, and I do want to ask you three questions that others have asked me to ask you, and then I will be done, and I will continue right now. (Laughing, and Elias chuckles)
Okay, I told you in June that I had a very intense experience with literally being the point of a pyramid. I didnít visually see the pyramid. I literally was a part of it, and I felt the energy of it, and I told you at the time that I did not feel that it was your main, or for lack of a better word, the Elias original pyramid that had Lawrence, Michael, Mylo, you, and I donít remember who else in it. But I felt that it was paralleling that, and we never talked about it because we got into other stuff, and I want to just give you a couple of ... recently, in just the last week or so, thereís been a lot of pyramid activity objectively with people I have been talking to.
My impression of my place on this pyramid is that I am a point on this pyramid, and I felt that Jamal was a point on this pyramid, and I donít know who else is, but I feel like this pyramid lends energy to your pyramid, and my objective manifestation of that, I think, is right down the street here in this huge blue building with the green glass pyramid on top of it. I feel like itís a ďfrom the inside outĒ objective manifestation of the action of the pyramid I am a point on, and I wanted to ask you if I was close on that.
ELIAS: Yes. You are offering yourself information as to the interconnectedness of essences and the interplay of essences, and how they are affecting of each other in the exchange of energy.
LYNDA: Right. Do you know who the other ... see, when I talk about pyramid stuff to you like that, I really, in a manner of speaking, I feel generally what youíre saying is what I do, and I donít really have that much interest in the actual form of the thing. Iím just aware that it is validating my own movement. So, I donít know. I donít have that much subjective ... well, I donít want to say that.
Anyway, what Iím saying is, itís not that big of a deal to me, but it is validating to me that itís an impression Iíve been getting, and I guess I want to ask you if this pyramid Iím seeing is ... my corner of it is yellow and deep violet, sort of. It looks like swirling sand of yellow and this deep violet color, and the pyramid itself is indigo. I see an outline pyramid of indigo, and inside is swirling white sand. It could be like a wave or the movement of water, and I would like to know if thatís correct, and who the other points are.
ELIAS: I shall express to you, this is imagery that you are presenting to yourself to be validating of yourself in your impressions.
Now; in this, the impressions that you are offering to yourself hold more significance than the imagery itself.
LYNDA: Okay. Thatís what I think.
ELIAS: The imagery is merely the presentment of certain manifestations or elements within your reality that you may objectively view or recognize that shall attain your attention to be offering you information that you may allow yourself to objectively assimilate in relation to your impressions, which is your communication with yourself.
In this, you create this type of presentment to yourself, these types of objective imagery, for you do hold the orientation of common, and this shall speak to you, for this is the manner in which you perceive. You create outwardly and you assimilate information objectively, and in this, you offer to yourself much information through objective imagery.
Now; as I expressed to you, the imagery itself is merely the presentment of different elements within your reality to be gaining your attention and offering you validation, that you may be trusting of yourself objectively. But the communication, the information that you are offering to yourself through your impression, holds more importance than the actual imagery in itself.
Therefore, your identification of yourself as a point of a pyramid holds significance. It is not quite significant that you identify any other specific individual as any other point. It holds significance that you identify yourself as the point, and that you are allowing yourself information as to the action which is being created by that point.
I shall express to you that there are more layers to this impression and this communication that you are offering yourself, and you shall allow yourself, in increments, to be objectively recognizing and assimilating these layers, as you continue movement in familiarizing yourself with yourself and as you continue allowing yourself your own expression of trust and acceptance, for this type of imagery that you present to yourself is offered in the form of this particular shape, so to speak, of this pyramid quite purposefully, for this symbolizes a tremendous quality of depth, which also creates the symbolization of many, many layers, therefore also many different qualities and actions.
You are offering yourself this imagery, that you may be validating objectively of yourself and acknowledging yourself as you correlate the impression to the imagery, for you shall not validate yourself if the impression does not match the imagery.
LYNDA: I knew I was deep.
ELIAS: Ha ha ha ha ha! And so you are!
LYNDA: Thank you very much.
ELIAS: You are quite....
LYNDA: Really, thank you very much. I donít think I can tell you that enough. And you listen and you receive it, which is just like so cool to me, Elias.
ELIAS: HA HA HA!
LYNDA: Okay, thank you.
ELIAS: You are very welcome.
LYNDA: Yes. Thank you. Well, Iím just going to encapsulate this experience Iím having with Malhai because thatís been my most recent piece of information I have drawn to myself, and identify mostly at this point, Elias, since we last spoke, duplicity in myself, and control, and I want to validate at the same time that I have never before ever been so up-front with this mass belief system, and of my thing with falling in love with love.
Some people get the flu. I fall in love with love. Itís okay. I know itís a big part of this wave in sexuality, and I just want to say that I feel like I am trusting myself very much in my impressions of Malhai and my impressions of my movement in it, and I would say that duplicity in putting myself down for being so spontaneous would be the biggest thing I am identifying right now. Is that correct?
ELIAS: Yes, you are correct.
LYNDA: Okay, good. And I feel Iíve never been this free before in the action that Iím taking, and although it seems very familiar, Iím very aware of being able to trust myself as a result of my responses to him, and also, I am identifying a lot of expectation, but I feel like Iím doing that in the moment and releasing the energy of it, or the affectingness. Is that correct? (Pause)
ELIAS: For the most part. (Grinning)
LYNDA: I know! (Cracking up) Youíre right Ė for the most part. I definitely feel like Iím moving in this direction anyway, but I also know that I do want you to make a comment, if you want to, about my movement, and tell me if Iím doing well or whatever with identifying.
ELIAS: I shall be acknowledging of you in this. We have been practicing together, and you are allowing yourself to be paying attention, and in this, I have offered to you encouragement and you have offered to yourself encouragement in this action, and I shall be validating to you in your continuation in this action, allowing yourself to be noticing and also allowing yourself to be identifying what you are creating, and recognizing and identifying the beliefs and aspects of beliefs that you are incorporating.
I shall also validate you in your attention to individual issues and your continued exploration of self in relation to those issues, and your allowance recently in incorporating your impressions and not so quickly discounting those impressions.
LYNDA: Thank you very much.
ELIAS: You are very welcome.
LYNDA: You do blue-dot me at significant points. I am very aware now of ... before they were sort of random, to get my attention and to remind me of you, which made me feel good about myself, but I am noticing that when you do blue-dot me, you are pretty specific with your blue dots, Mr. Elias!
ELIAS: Ha ha ha ha ha!
LYNDA: And I appreciate that. It really is pretty cool to me, and thank you very much.
ELIAS: You are quite welcome.
LYNDA: If itís okay with you, I would just like to ask three things for three other people, and then I will be on my merry way. Is that alright with you?
ELIAS: And you may.
LYNDA: Okay, let me get my glasses. O-Man, Opan, I call him the O-Individual, Opan has this question. Opan wants to know if his and certain other individualís impressions about him being the sixth point of the pyramid are correct, ďand tell him that I ask this in response to probabilities and connections he is presently aware of in my present movement, and I ask with a tremendous smile on my face.Ē
ELIAS: HA HA HA HA! And you may offer to Opan, with a very large smile, NO!
LYNDA: (Cracking up) You are so cute. Okay Ė large smile, NO!
ELIAS: HA HA HA HA!
LYNDA: (Laughing) Okay! I love it! May I move on to my next ... oh, you just blue-dotted me! May I move on to my next question?
ELIAS: You may.
LYNDA: This is a question from Lisaís friend Buddy. He would like to know his essence family, tone, alignment, and orientation. (Pause)
ELIAS: Essence name, Zindu; Z-I-N-D-U.
LYNDA: Z as in zebra?
ELIAS: Correct. Essence family, Sumari; alignment, Sumafi; orientation, common.
LYNDA: Great. Thank you very much. I have one last question that Malhai sent me. ďAsk about the spiral that is really a circle, and appears like a ripple out from a pebble dropped in a pond.Ē (Pause)
ELIAS: You may express to Malhai that he may be incorporating this direction in interaction with myself if he is so choosing, and may be choosing a direction within his questioning as to which aspect of information he wishes to be incorporating concerning this imagery of spiral.
LYNDA: Okay, fine. Iíll communicate that.
ELIAS: I express this quite purposefully, for there are many layers of this particular imagery.
LYNDA: Right. That was my impression when he sent me the question. I had wished it was more specific, so that validates something I felt when I got the question from him. So, I will communicate that to him from you. Thatís it.
ELIAS: Very well.
LYNDA: Thank you for BEING.
ELIAS: (Chuckling) And I shall express to you, you are quite welcome, and you may express the same to yourself!
LYNDA: (Laughing) And I do! Right this very second!
ELIAS: Ha ha!
LYNDA: Alright. I will talk to you in a couple of weeks, and I love you, and thanks very much.
ELIAS: You are welcome, and I shall anticipate our next meeting. To you in affection and continued encouragement, I express this day, au revoir.
LYNDA: Au revoir.
Elias departs at 1:14 PM.
© 2000 Mary Ennis, All Rights Reserved.