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Friday, April 07, 2000

<  Session 597 (Private/Phone)  >

ďConcept vs. ExperienceĒ

ďSignature ColorsĒ


Participants: Mary (Michael) and Lynda (Ruther).

Elias arrives at 11:14 AM. (Arrival time is 20 seconds.)

ELIAS: Good morning!

LYNDA: Hi, Elias! It would be me, Ruther! Can I ask you a couple of questions about a dream I had? And then Iíd like to give you my impressions of my impressions since the last time we spoke.

ELIAS: You may.

LYNDA: Okay. I had a dream a couple of nights ago with me and Frank Sinatra. I dream about Frank Sinatra a lot, and in this dream, I was with Sharon Stone, the actress, and myself, and Frank Sinatra. Frank Sinatra chose to be with me instead of Sharon Stone, and I was sort of surprised at the choice because sheís a very famous actress, and he chose me. My feeling of being around him was a similar feeling to like what I felt around Jasper, that feeling of my own essence being in love with me type feeling.

Anyway, Frank Sinatra and I walked into another room, and my mother was there and my old friend Judy, and my friend Judy sang a song to Sinatra because she was so excited to see him, and the song was something like Desdemona, or it started with a D. I watched my mom be really mad at Judy because she thought it was silly what Judy was doing. I observed my mom, and I understood that my mom really loved Frank Sinatra, and that she was mad at Judy because Judy sang a song to him, and she probably wanted to also. So anyway, Iíll give you my first impression. That was pretty much the basic dream.

A couple of things about the Frank Sinatra connection Ė Iíve always liked Frank Sinatra. Iíve told you that before, but the feeling was sort of like my information to me of my own acceptability, Ďcause the feeling was that being in love feeling with myself, so I know it had something to do with that. My observations of my mom and Judy were ... I think my impressions were correct about them, and it was okay with me. Their reactions were okay with me. It was fine, because I was with Frank, and I was secure. Do you understand what Iím saying?

ELIAS: Ha ha ha ha ha!

LYNDA: (Laughing) So, Iíd love you to tell me what that dream is, and then weíll talk some more.

ELIAS: You are correct in your identification of your impression in your dream imagery.

You are offering to yourself imagery that validates to you your movement into more of a recognition of expressions of acceptance of self, that you may be offering to yourself the same acceptance and worth that you afford to other individuals, and there is a recognition that there is no comparison or competition any longer.

LYNDA: Wow. Iíd like to take this opportunity to thank myself for that! (They both laugh) Oh, thatís great! Okay, can I tell you my impressions of what happened since the last time we spoke?

ELIAS: You may.

LYNDA: Well, I described to you a layer of the green color I was seeing in that pyramid imagery weíve been discussing, and I said my interpretation of it was healing communication within and without. Then we got into a long discussion about several different things regarding shifting of perception and cause and effect, and I got off the communication with you and got back on with Mary, and Elias, the tape did not record.

My very first impression of why the tape did not get recorded was because I was so concerned with the session being valuable for others. We were discussing all of these really important concepts, and that was my first thought, that I was more concerned with being Helpful Hannah than I was with listening to what you were talking about. I was more concerned with having the right response to you, in accordance with this information. But that was a nano-second response. My next response was to condemn myself for being Helpful Hannah. Then my next response was ... then Mary said to me that the only other time this has happened was with another individual who Iím counterpart with, and I got pissed off because I thought, oh great! Now Iím being affected again by counterpart activity! So, I told myself it was a co-creation.

Then I got off the phone with Mary, and I crashed my C-drive on my computer, and I could not communicate on the Internet. I panicked and triggered a mach-ten fear episode, and I observed myself create what I call a new layer of fear, yet I watched it, Elias, and it was most uncomfortable. I had a lot of problems reinstalling my programs and my modem to communicate out, and the whole time Iím thinking, oy, this is communicating out before in. Thatís why I saw the imagery, and I was talking to myself to calm down, and I pulled in a lot of intimidation from outside sources and I allowed a lot of hurtfulness to myself in this, sort of like a mushroom effect, and this was like 36 to 48 hours, and then I began to see a pink layer of imagery over the green, and it was working with the green, and I started to relax.

I realized it was pink, and I could relax and pay attention to what was going on, and I began to do that, and then I saw pink and green balloons all over the place, and flowers, and it was more objective validation that I was to just relax and observe what I was creating. I realized on another layer that I do create my reality, and then I sort of panicked for a moment, because I literally forgot I had any other choice, and I realized I was dealing with feeling completely out of control.

Anyway, Iím just telling you that that all happened, and at the point I realized I was looking at control, the worm turned, in a manner of speaking. I began to choose the moment, and at the moment that began to happen, I saw a layer of white over the pink, and I remembered my imagery to me of white in the moment from when I was a little girl, and snapping back into the moment dissipated the fear completely; it was sort of coming in stages. Now Iím seeing indigo over the white, which I keep seeing that, which to me has something to do with just allowing my natural expression and trusting myself, whatever that is. So, Iím telling you all that to tell you all that! (They both laugh) Iím very proud of myself, and itís very scary to allow spontaneous expressions, but Iím more accepting of all of them because Iím not wanting geysers. Iím wanting to really allow myself to express and trust me, and thatís what Iím doing! So, Iím telling you that so you can tell me back what Iím telling you.

ELIAS: Very well, and I shall be acknowledging of you and expressing to you validation in your accomplishment, in noticing and recognizing what you are creating.

Now; in your incorporation of these colors, you present yourself with these specific colors quite intentionally.

The green is expressed to you as an expression of healing, which you are moving into. Many times the action of what you may term to be healing also incorporates uncomfortableness. For in the action of healing, you are also allowing for the action of opening, and in opening, you also allow yourselves to view, and as you view, you present yourself with elements of fear or elements of yourself that you create judgments with, and therefore you become uncomfortable in your process, so to speak, of healing. The green is your presentment of this healing process, which also incorporates actions and scenarios/situations that may be uncomfortable.

You also present yourself with the color of pink. This also is a healing color, but this color moves in relation to the green Ė quite accurately expressed in your impression Ė as a soothing or calming or relaxing expression which facilitates the energy of the green or the healing, for as there is a relaxation and a calm, there is also an allowance for the movement of the healing energy.

You also move into the incorporation of the indigo. The reason you have presented yourself with this particular color is your association with natural states. This vibrational quality of indigo also expresses that translation Ė natural state, natural flow of energy Ė and this may be incorporated into this healing process also.

In this, you have presented yourself with this type of imagery in these colors to be reinforcing of your impressions of what you are moving through and what you are incorporating in action to allow you to be addressing to fear and therefore dissipating the dragon, and also allowing you to move into an expression of freedom.

You also view the element of control and lack of control. In these, you may address also to the dragon of fear, for the aspect of lack of control triggers the fire-breathing! (Lynda laughs) But there is no element that you need be fearful of in a lack of control, for control and lack of control are merely different aspects of a belief.

LYNDA: Yeah, and I very much understand that this is not a concept. This is a reality. Iím so appreciative of myself, that Iím allowing myself to experience what youíre saying. I experienced what youíre saying, and it means so much to me, Elias.

ELIAS: And as we have spoken previously in our last session, these experiences offer you the opportunity to view perception, for this is what is creating your reality.

Therefore, if you are perceiving through the vision of fear, you shall be creating a reality incorporating that expression. If you are perceiving in an expression of a lack of control and fear, you shall also be creating a reality that exhibits your interpretation of those expressions.

These experiences have served as an example and an opportunity for you to view the powerfulness of perception, for you also hold the ability to turn your attention and to turn your perception in the moment. Therefore, from one moment to the next sequentially within your time framework, you may be creating significant differences within your reality.

LYNDA: Yeah, thatís ... amen! (Laughing)

ELIAS: Ha ha ha!

LYNDA: Yeah, thatís what happened. The first couple of days I was nuts to get hold of you, and I couldnít. It was so much imagery to me! Another aspect of my perception was very much that because of your nonphysical-ness and your remembering more than I do right now, I saw so much of how you are like God to me.

What triggered the depth of the fear was, oh my god! I canít get through to Elias! What if Mary doesnít let me talk to him? God rejecting me twice in a lifetime? Itís just too much! And I started to giggle, and I giggled at myself, and that was part of this process too. Do you understand what I mean?

ELIAS: Yes.

LYNDA: It meant a lot to me that I saw the religious beliefs Ė I have so much attached to nonphysical reality Ė and this is very helpful to me.

ELIAS: Quite. You also have offered yourself the opportunity in this scenario to view your ability, the value of relaxing and not moving yourself into the expression of extremes Ė not necessarily moving into an expression which incorporates the tremendous energy in surges presently, and tapping into those surges or allowing those surges to be affecting of you in extremes and therefore lending energy to the already-existing issues Ė for this is the familiar area, and therefore this IS the direction that you shall choose to be initially moving into in your expressions and behaviors.

In this, you create what you identify as a panic initially, and you call out for myself, but in the panic and the calling out for myself and my helpfulness, you also present yourself with an obstacle which is affecting of your physical interaction with me. For there is confusion created in the panic, and in the confusion that is created, the physical actions and movement that you are desperately seeking to be creating physically slow in their materialization.

Be noticing of this process, for many, many, many individuals create this same process. You create an expression of panic, and in panic you create confusion, and in confusion you slow your physical movement, in the very opposite expression, in your terms, of what you wish to be creating! (Chuckling) Which reinforces your doubt in self and your lack of trust in self, and reinforces the circle of creating the panic and the uncomfortableness, which once again creates confusion and slows your movement.

But in this process, you have offered yourself the opportunity to view what is occurring, in a manner of speaking, step by step yourself, and participate with your attention in noticing what YOU are creating and experiencing step by step.

I may be speaking to you, Ruther, every day within your focus, and without your experience accompanying my information, you shall hold the information merely in concept.

LYNDA: Yeah, absolutely. Absolutely! Yep, yep, and yep!

ELIAS: Therefore, you offer yourself experiences that YOU are creating, that YOU are participating within, that YOU are drawing to yourself.

Words are words. Words create concepts. Your actions and your creations create experiences, and this speaks to you much louder than I speak to you.

LYNDA: Yeah, thatís true, and I really am so appreciative of this step. Itís so validating to me. It validates my desire to move in alignment with this shift very much.

ELIAS: And you are!

LYNDA: Yep, I are!

ELIAS: Ha ha ha!

LYNDA: Oh goody! Thank you very much for that. That was way cool! (Elias chuckles) May I give you a couple more impressions?

ELIAS: You may.

LYNDA: Well, we talked about the Sumalfi family and you gave me a description, and I would like to give you my impressions of what I think the color of the Sumalfi family is, because my impression is that itís different than the Sumafi family. Can I give you my choice that Iím resonating with? Iíll just tell you what my little logical progression was, and then Iíll tell you what Iím resonating with.

In thinking about the Sumalfi color, I thought, well, the Sumafi color is black, so maybe my love for cobalt blue ... itís kind of blue-black, so it could be cobalt. And then I thought, maybe itís gray, but I donít really like gray, and I donít wear gray Ė this is my brain working here. And then I thought periwinkle blue Ė I love periwinkle blue! So I think itís periwinkle blue, and thatís what resonated to me. So, if Sumalfi has a color, my impression that I resonate with is periwinkle blue, which is sort of a warm blue. So, will you tell me what is up with that?

ELIAS: Ha ha ha! I may express to you that you are resonating with this particular color of periwinkle blue within your essence, and this is an identification of a tone or a vibrational quality which resonates quite strongly with your essence. I am aware of your other blue as your individual signature color. Recognize that this is your identification of you, but that your essence also resonates with other vibrational qualities, and therefore you hold what you may term to be affections or affinities for certain other colors in addition, in a manner of speaking, to your individual signature color.

LYNDA: Are you speaking about the aqua color we talked about before?

ELIAS: Yes.

LYNDA: Okay, so the aqua color is my individual signature.

ELIAS: Yes.

LYNDA: And the periwinkle is all of....

ELIAS: This....

LYNDA: I donít think ďallĒ Ė itís too small of a word, isnít it?

ELIAS: Ha ha ha!

LYNDA: I think ďallĒ is not a big enough word for the colors of my essence! (They both laugh) Okay, go on.

ELIAS: I shall express to you that within essence, you do not in actuality hold one individual signature color resonation. You do hold several vibrational qualities that you resonate with in essence, and this expresses itself, in your translation outwardly in your physical manifestation, as a type of affinity for certain color expressions. Are you understanding?

LYNDA: Yes, I am.

ELIAS: One individual may hold a signature color in a particular focus, and also be extremely drawn to a very different color, that which they may identify as their favorite color, and one expression may be that their essence resonates with that particular vibrational quality, and this is translated into an individual focus, and that focus may draw itself continuously to that particular vibrational expression of that particular color.

As to the color identification of this subdivision of family, in actuality, the color identified with that family would be recognized in your translation as charcoal.

LYNDA: Oh, that was my very first impression, that it was a mutation of the black. Charcoal Ė that makes sense.

ELIAS: Ha ha ha!

LYNDA: Whatever sense is! Charcoal Ė oh, okay. Charcoal Ė not quite black.

ELIAS: Not quite.

LYNDA: Not quite. Thereís a difference, a significant difference! (They both laugh) Okay, thatís interesting. The shades of blue that I resonate with are what I call warm blue, not purple blues. Theyíre more warm blues, so the aqua and periwinkle would make sense to me Ďcause they have a similar warm tone, is the only way I can describe it. Do you know what I mean?

ELIAS: Quite.

LYNDA: Okay, thatís very good. I appreciate that. (Elias chuckles) Okay, I think I am going to ask you a Seth question because Iím getting some Seth stuff, and then I will probably end this session. Is that okay with you?

ELIAS: Very well.

LYNDA: I really like Seth. I like the energy of the Seth entity person, and I felt that throughout all of my reading of the Seth material, and I keep thinking that my connection to the Seth guy, in his physical manifestations, that I had other focus stuff with Seth, and I am picking up, I think, Holland. At first I thought it was Copenhagen, but I think itís Holland, and I could be picking up on action with you in Denmark. Iím not sure, but Iíd like you to tell me if Iím picking up some shared focus stuff with Seth in Holland.

ELIAS: Holland, you are correct.

LYNDA: Merchants?

ELIAS: Yes, you are correct, and....

LYNDA: ĎCause I can feel a....

ELIAS: Ha ha ha!

LYNDA: What are you laughing about?

ELIAS: And fish!

LYNDA: And fishmongers!

ELIAS: Ha ha ha!

LYNDA: (Cracking up) Itís so funny because, you know ... oh, dare I say this? My impression....

ELIAS: Quite glamorous, are you not? Ha ha ha!

LYNDA: Quite what?

ELIAS: Glamorous!

LYNDA: Oh yes, way! I have to tell you, that reminds me of another focus Iíve picked up with regard to Mylo, and I want you to tell me if Iím right. See, my connection with Seth is so real and personal to me that itís really hard ... and the material itself can go in the direction of this sort of intellectual evaluation of the principles and stuff of the Seth material, and I have this connection to Seth that is very real and dear to me, and fun, so this is certainly ... (Lynda cracks up). I love this Ďcause it validates my impression of Seth and why I like him! (Elias laughs) Thatís interesting to me!

Anyway, Iíve been having some interaction with Mylo, and some pretty free communication, and one thing he mentioned to me was that the reason that he had not ... at the beginning of our communication, we didnít exactly get along very well. I liked him very much, but he didnít like me very much, and he was telling me that we were moving through the same beliefs with relation to this wave in sexuality and it was nothing personal, which I totally knew. I just knew that I was just driven to communicate with Mylo, and my objective imagery about that was, for a long time, here where I live, there were Oscar Wilde posters all over the place, and I told you about that, and then they were taken down, and around the same time, this was about three weeks ago, I started getting this Mylo drive to communicate with David, and Beethoven posters went up! (Laughing) And I thought, oh, I think he has another focus, future-something, with Beethoven, and it was just like validation to me of a connection with David.

Anyway, I just wanted to mention that because I think itís part of this ... I feel like David and I have had other-focus activity, and Iím just gonna be brave here and say this, but itís possible that it was around the time that he was Beethoven or when his essence was focused as Beethoven, and I had a very close relationship with him, and I think I was either his mistress or had a very intense, close, personal relationship with him, because the connection I feel with him ... Iíve never met him! But I feel a real close connection to him, so I want you to tell me something about that, if you would.

ELIAS: You do participate with this essence in other focuses.

As to the participation with a focus of Mylo as the manifestation of your composer, I shall first of all offer a correction, for Mylo is not manifest as that particular individual. But....

LYNDA: You are.

ELIAS: You are correct.

LYNDA: And Mylo is fragmented from you.

ELIAS: You are correct.

LYNDA: So, thereís a connection there somewhere.

ELIAS: You are correct.

LYNDA: (Laughing) Go on!

ELIAS: In this, you do participate with Mylo in that time framework, and you also participate with that individual that you have identified as the composer, not in the capacity of a mistress, but in the capacity of a friend, as a male friend, in actuality. There is great affection expressed, and also great exasperation! Ha ha ha!

LYNDA: (Laughing) Oh, thatís interesting!

ELIAS: The relationship that you create with Mylo offers you, in that focus, a type of comfort and compensation for the exasperation and frustration that you engage with the composer. (Chuckling)

LYNDA: Oh, thatís interesting. Itís really fun to get these impressions because they come right out of the blue!

ELIAS: Ha ha ha ha! Quite!

LYNDA: (Laughing) I also felt like ... I saw an old lady in London, and I saw what I think is David/Mylo wearing a top hat and standing next to a carriage. He was of the upper class in London, and I was like Apple Annie from the movie ďA Pocketful of Miracles,Ē like sort of a haggle-toothed, older woman that was a beggar, and I was really a beggar, and rather obnoxious in my begging, because when youíre a beggar, you gotta beg, so you gotta do what you gotta do! And Mylo was sort of not wanting to be around me. Is that right?

ELIAS: (Laughing) I shall validate this impression also; yes.

LYNDA: Oh, my little Apple Annie girl! (Laughing) I love it, Elias! Itís so fun to me!

ELIAS: I shall encourage you to continue in this expression of fun!

LYNDA: Yeah, I donít blame you. I donít blame me either! (Elias laughs) Okay, one last point about other focuses is, do I have ... oh, two, and then Iíll go. The first one is a sorceress focus in Scotland named Falon Ė Iím not sure how to spell it, F-A-L-O-N Ė a woman, an independent, strong sort of sorceress in her religious stuff, in older Scotland. Is that me?

ELIAS: Quite; a witch.

LYNDA: A witch? (Cracking up) A witch!

ELIAS: And you may be playful with this focus also! Ha ha!

LYNDA: I wouldnít mess with her if I were me! (Elias chuckles) Oh god, thatís interesting! I was a witch, and a zealot for Jesus. I understand. What an odd connection of experiences to have. I mean, essence does have a sense of humor!

ELIAS: And expression of variety!

LYNDA: Yes, I think so! Jasper is around me, and was very much around me while I was experiencing this fear thing, and I just want to acknowledge that, and I am moving in the direction of making more contact with him. Iím aware that it involves me trusting myself to do that, and I was wondering, could you give me a little hint as to what would be a way for me to more move in his direction Ė Ďcause I feel him moving in mine Ė and have more interaction?

ELIAS: Merely create an allowance. In this, be remembering of our definition of patience, and in your creation of relaxing in your energy, you may also be expressing the action of patience.

LYNDA: Okay. Yeah, I definitely feel what youíre saying, and I will continue.

ELIAS: Very well!

LYNDA: And thank you very much, and I love you, and Iíll be speaking to you again.

ELIAS: Very well. I shall be anticipating our next meeting in playfulness! Ha ha!

LYNDA: Yeah, only! (Laughing) Thank you!

ELIAS: You are quite welcome, and I may be offering to you an expression of tickling energy in the interim time framework!

LYNDA: Okay, I look forward to it! (They both laugh) Thank you!

ELIAS: You are quite welcome. I express to you in great affection, au revoir.

LYNDA: Au revoir, my friend. I love you.

Elias departs at 11:59 AM.


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