Tuesday, October 17, 2000
ďBoredom/Lack of MotivationĒ
ďCreatures and EssenceĒ
Participants: Mary (Michael) and Carmen (Tirza).
Elias arrives at 12:21 p.m. (Arrival time is 30 seconds.)
ELIAS: Good day!
CARMEN: Hello, Elias.
ELIAS: (Chuckling) And what shall we be discussing this day?
CARMEN: Well, the last time we had a session, we discussed my intent, and Iím pretty sure that I understand the first two parts, about my helping others explore and accept their own creativity, and my exploring avenues for my own creativity. But I am confused about the third part, and I have a feeling it may be the biggest aspect of it. So if I may read what you said before I tell you my impressions, and then ask for your feedback?
ELIAS: Very well.
CARMEN: Okay. You said:
ďYour overall direction in this exploration is incorporated in the design of defining spirituality in all of its expressions.
ďNow; this is significant, for there is an incorporation of assimilating information in many different types of expressions of spirituality, and exploring within yourself how all of those expressions may be simultaneously incorporated and expanded to be all-encompassing, so to speak, and not discounting of any one particular direction of expression. This is the exploration of a specific area of acceptance, in the identification of spirituality. By incorporating all of the differences of expressions and beliefs associated with spirituality, you have chosen to incorporate an action of your abilities in creativity to be incorporating all of these different expressions, and creatively expanding upon the philosophies to incorporate the expression of acceptance of all aspects of identifiable beliefs concerning spirituality.Ē (#671)
Now, thatís end quote. Now Iíd like to offer an observation about myself, and Iíd like you to tell me if it relates to what you said.
ELIAS: Very well.
Now, I do, in my way of thinking, define every single expression that can be made by any consciousness as creativity. To me, creativity is synonymous with spirituality Ė that thereís nothing spiritual that isnít creative, and nothing creative that isnít spiritual.
Now, is this part of how you were defining my intent? Because I get hung up on the part about simultaneously incorporating and creatively expanding philosophies without discounting anything. Because when I read this, I tend to think in terms of objectively creating something like a work of art or an all-encompassing philosophy. But quite frankly, when I think about it that way, I just feel tired. It just seems so daunting to me.
But on the other hand, I think it may refer to myself as the work of art, so to speak, in the sense of I myself incorporating all of the belief systems and expanding on them, so that everything I do expresses my intent, so that everything I do is sort of infused with this encompassingness and creativity and so forth.
So, I was wondering if you could help me clarify what this aspect of my intent means, and also if Iíve even approached fulfilling it with anything Iíve done so far, or if the essence part of me has another type of expression in mind that Iím not seeing.
ELIAS: I shall express to you that you ARE fulfilling your intent, which provides you with your expression of value fulfillment.
I shall also express to you that you are quite adequately identifying and defining the terms of this aspect of your intent as it relates to this subject matter of spirituality. You have defined it quite well, in your impression and your explanation to myself, as to how you view this aspect of spirituality.
This is what I am expressing to you: You need not be analyzing all that you do or all that you create within your focus and how it may be interpreted in relation to spirituality, but merely allow yourself the recognition that you ARE following your intent by incorporating all aspects of consciousness Ė all aspects of what you term to be life Ė in the identification of spirituality.
CARMEN: Okay ... okay.
ELIAS: This also relates to all other individuals, and this is the key point in relation to your individual intent, for you have created an exploration of this term of spirituality, this aspect of yourself, this action which is defined as spirituality, which is all-encompassing.
And in this definition, you have already applied this to self, for the most part, and as you turn your attention outward to other individuals, you provide an example to these other individuals, in allowing them to view how you move in acceptance of all expressions AS expressions of spirituality, even those expressions that other individuals do not define as spirituality or do not view as an expression of spirituality.
Through your example within your focus, as you incorporate your own movement of energy in this manner, you provide to other individuals an avenue, that they may view a wider expression of their periphery to be allowing for this identification of spirituality to be defined within every movement of their focus, not merely certain aspects of their focus.
Are you understanding?
CARMEN: Yes I am, and I actually feel relieved because I thought I was going to have to go off to some mountain top and develop a big theory or philosophy of spirituality. (Elias chuckles) But the idea of my incorporating it just within my everyday life and going about just living my everyday life, and anyone can view that if they choose and do with it what they want, what they see ... I feel relieved by that because as I said, I was feeling like I had this big task to do, and I donít know how to approach it.
ELIAS: You have already accomplished much of the task! (Laughing)
CARMEN: Iím relieved to hear that because boy, do I have a tendency to discount myself, which I suppose leads to the next question.
Iíd like to ask specifically about the depression, boredom, impatience, and rage that Iíve been feeling so often now, and I feel there may be several factors affecting this or creating this feeling.
First of all, I think it may be partly due to the fact that I may be a designated final focus. I very often have the feeling of, Iím done here. Thereís nothing left to do, nothing left that interests me ... even though I know intellectually there are always choices I can make that could sort of make me feel like it was worth sticking around. But emotionally, at times, I donít feel that.
Then next, I think it might relate to my Vold energy that thrives on movement. If I feel like Iím stagnating, Iím miserable. I feel dead inside. And part of it is ... oh, I guess we kind of covered this in the last point, that I didnít think I was following my intent as much as I could. But there are often times now, even when I do approach doing something objectively creative, itís like I just donít have the desire to do it.
The next thing is, I donít seem to be opening my periphery that much, so Iím not giving myself a feeling of movement in that direction, but sometimes even the thought of that doesnít excite me. Itís just that sometimes, I am just tired. Iím wondering if you could help clarify why I feel so stuck sometimes, and I just donít care.
ELIAS: I may acknowledge to you, yes, you are a designated final focus.
Now; I may also express to you that some of these expressions that you are identifying Ė in emotional expressions or in a lack of motivation Ė may be attributed, in part, to this position of being the designated final focus. (1)
Now; this is not a rule, but there are many individuals that are the designated final focus that do experience many of these same types of expressions within their focus.
I shall also express to you that it is your choice to be focusing upon those feelings and creating a direction of a lack of motivation, or to be offering yourself a stimulus, so to speak, in altering your perception and allowing yourself to move into a different type of direction.
Neither is good or bad. Both are merely choices. But you are expressing to me conflict and frustration with what you are creating presently. Therefore, we address to the frustration and the conflict in recognition that your want is to be altering your expression and not continuing in the direction that you have chosen thus far.
ELIAS: First of all, allow yourself in genuineness to be recognizing that what you are feeling, what you are creating within your focus, has been CHOSEN.
I have recently expressed to another individual, and I shall reiterate in this now to you, you are moving yourself into a genuine understanding and acceptance that you do in fact create your reality.
But you also create a distinction Ė at certain points, in certain moments, and in relation to certain experiences Ė that although you may be creating your reality, you are not CHOOSING to be creating that reality.
Therefore, I shall suggest first that you direct your attention into the recognition of choice, for you shall not allow yourself the freedom of choice in what you want until you have allowed yourself the recognition of choice of what you are already creating.
Choice is a powerful term for a very powerful action, and you engage this action within every moment, and in this, every moment that you are creating your reality, you are also CHOOSING to be creating your reality in the manner that it is created.
Therefore, if you are creating boredom, you have CHOSEN to be creating boredom. If you are creating frustration, if you are creating a lack of motivation, if you are creating anxiety, you are CHOOSING to be creating all of these expressions.
I may also express to you quite definitely that there is no waste of energy. Therefore, every creation that you choose is purposeful. You have not created any action or any expression randomly or accidentally.
CARMEN: Yes. So, Iím not just wasting my time. When Iím feeling like that, Iím really creating.
ELIAS: You are offering yourself information. You are ALWAYS offering yourself information.
Now; let me also express to you, in relation to this action of offering yourself information, at times you cease to pay attention to certain avenues of communication that you generally offer to yourself. You have become quite accustomed to the methodology, so to speak, of how you create your communication to yourself physically, and in this, in a manner of speaking, you become bored with the familiarity of your communication to yourself.
You engage your senses Ė your outer senses and your inner senses Ė as avenues of communication to yourself. You engage your impressions or your intuition, which you translate into thoughts, and this is another avenue of communication. You engage emotion as an avenue of communication, but generally speaking, you have geared your emotional expressions to be triggered by outside information. Therefore, you have incorporated the use of your emotions as a responsive type of communication to yourself.
In this, at times you may choose to be incorporating familiar avenues of communication with yourself, but in a different construct, one that gains your attention and holds your attention.
Generally speaking, you do not incorporate this type of action in the expression of joyfulness or pleasure. Generally speaking, if you are attempting to gain your attention, you shall incorporate an action or an avenue of communication with yourself that shall be displeasurable to you and that you shall dislike.
CARMEN: Yes! (Laughing)
ELIAS: And this shall quite efficiently gain your attention and hold your attention.
CARMEN: It sure does!
ELIAS: Now; in creating a lack of motivation and an expression of frustration and anxiety, you gain your attention through an emotional expression which you dislike. But the emotional communication is being offered NOT in responsiveness or reaction to an outside event. But rather, you are creating this expression in emotional quality in similar manner to how you create your thoughts. But in time frameworks such as you are expressing presently, and within the design of your direction that you have chosen presently, you shall not pay attention to the thoughts.
It is quite easy to override the thoughts. It is also quite easy to be discounting of the thoughts, for you may easily move yourself into an identification of discounting yourself, and therefore you shall cease the thoughts altogether. Therefore, this is inefficient in gaining your attention.
It is more difficult to be overriding the expressions of emotions. You are less versed, so to speak, objectively in how to be manipulating emotions, and how to be overriding those expressions of emotions or altering them. Therefore, in your assessment, you exert less control over these expressions of emotions than you may over the communication of thought.
CARMEN: And also, in thought, the thought might contain an idea for a choice that I could make in that situation, I think. But I get so caught up in the emotion that it just, as you say, overrides. Am I getting that correctly?
ELIAS: Correct, and in this, many times you become stuck, in your assessment, or you become confused, which also may be assessed as stuck.
In this, the reason that you create this confusion is that in paying attention to the communication of emotional expressions, you do not always offer yourself clarity in choices. There is not always an either/or as to the choice. Within addressing to your thoughts, you may easily express to yourself an either/or choice.
In addressing to the emotions, many times you may be experiencing a challenge even identifying the emotion itself and defining the emotion itself. Therefore, you experience even more challenge in attempting to be creating a choice in relation to the emotion, and in this, you move yourself into the most familiar area of choice, and this is either continue or discontinue.
In this, you automatically move into the avenue of viewing the emotion that you dislike or the expression that you dislike and express to yourself, ďMy choice is to be eliminating of this, to be discontinuing.Ē For you view it to be too difficult to be viewing all of the choices that lie between the either/or.
CARMEN: Yeah, that will be a challenge, because boy, I do offer myself limited choices. For being such a creative person, Iím not creating very many choices in many situations. That is an area that I need to open myself up to, in accepting a broader range of choices rather than the black and white. I do tend to go black and white.
ELIAS: And this is accomplished by being accepting of you, and not placing judgments or limitations upon you; not the choices themselves, but upon self.
In this, how you move into this type of expression is to be allowing yourself to be more objectively cognizant of yourself within the now, within the moment; genuinely aware of self in the moment, in the now; not in the false awareness of self, by being aware of the now in viewing all that is occurring outside of you within the moment. This is not being aware of you.
Therefore, in allowing yourself to be engaging your objective awareness in relation to self in the now, you also allow yourself to open to your periphery automatically, and you shall provide yourself with the viewing of more choices, for you are viewing more of what you are in actuality creating and engaging.
CARMEN: Yes. Oh boy! Well, that will be something I can work on. (They both laugh) My next question is, I had a dream right after my last session, and Iíd like to offer first of all the dream, and then my impressions, and then if youíll give me feedback on that.
ELIAS: Very well.
CARMEN: Okay. I was part of a ballet company, and there was a practice before a performance that we were all going to do. All the dancers were in a room, and I was there with another woman who seemed to be my dance partner in some way. The ballet mistress or teacher came to us, my friend and I, first, and asked what dance movements we wanted to make in the performance. Now, in my heart I really wanted to do a pirouette, because even in real life Iíve always wanted to do a perfect pirouette, but I chose a sideways lunge. After telling the ballet mistress what we wanted to do Ė and I donít know if my friend chose the same movement or not Ė the mistress told us we could leave early. I had a sense in the dream that she was letting us go early because we had been showing up for practices. The next image I have is of me and my friend leaving, and I think we walk up a few steps.
Now, I think this dream had to do with the ďnext stepsĒ in my life, and I think I chose ballet as a metaphor for my life because it fits my Vold membership of movement, and it also has some meaning to me in real life. Ballet has been a theme in a number of my dreams ... or I should say some of my more important dreams, if there is such a thing as a more important dream. But I think the performance symbolized this shift that weíre all participating in, and that weíre all choosing what roles weíll play in it.
I was initially attracted to the pirouette, but my feeling is that while a pirouette is aesthetically attractive, it wouldnít get me too far. It would just literally be going around in a circle, and also metaphorically. Whereas a sideways lunge is a larger movement, but itís not as attractive, in my opinion. Now, I think my choice of a sideways lunge is a decision Iíve made of maybe one, two, or three things Ė first to open my periphery, second to take another direction in life, or possibly even disengage.
Now, my partner I think might have been another one of my focuses, that she and I have had a lot of parallels in our focuses ... oh, I guess we discounted this one. I was going to say, maybe we havenít decided which one of us is the final focus, but forget that one.
But the part Iím not really clear on is leaving early. I think it may be that Iím considering disengaging now, or Iím telling myself that I can take some time off from taking such a serious approach to metaphysics, and have some fun without thinking about accomplishing; you know, some time off to goof off. Could you provide feedback on my impressions, and clarify this dream in relation to my next steps?
ELIAS: I may express to you a great acknowledgment of your interpretation of your dream imagery, for you have accomplished well. In this, I shall validate your impressions by expressing to you that what you are offering to yourself in communication through your dream imagery is quite correctly what you have offered to yourself in your translation of this dream imagery.
As to the imagery of leaving early, so to speak, this is not imagery that you are expressing in relation to disengagement. Within this present now, you are not creating any movement in probabilities that is creating this type of an action of disengagement.
You are moving yourself into an objective expression of loosening your hold upon your identification of metaphysical philosophy and practice, and allowing yourself movement into a more playful expression. You are beginning a recognition, objectively and subjectively simultaneously, that the seriousness that you have incorporated previously may not be serving you presently as efficiently as it may have previously.
In this, you are choosing to be incorporating more fun, more light-heartedness, more of an expression of playfulness, in the recognition that you may be accomplishing equally as much in playfulness as you may be in seriousness.
CARMEN: Yes. Great ... great! Okay.
Now, there was another dream where I think it was you, but I may have been using you as a symbol of a message to myself. I got the message that it would be helpful for me to choose a sexual orientation. Now, I initially rebelled against this message, I think partly because I interpreted it literally, and Iím really not interested in expressing my physical sexuality these days.
But am I correct in interpreting the message as being that it would be helpful for me to choose either an inward or an outward direction for my attention and creating? Because another dream I had a while ago was about choosing between either England or Peking, and I think this might be the same message that Iím giving to myself ... or that you might have helped relay. Am I getting that right?
ELIAS: Let me express to you, this imagery is not as much in the direction of expressing a particular choice as it is addressing to you information concerning your beliefs concerning creating a choice.
You hold beliefs in many situations in which you view that you need be creating a particular choice, choose the either/or ...
CARMEN: Oh yeah ... again.
ELIAS: ... and in this, what you are expressing to yourself within your dream imagery is drawing your attention to that direction that you create.
This direction Ė in continuously placing yourself in the mode of having to choose the either/or Ė in many, many, many situations creates obstacles and limitations.
Whereas, you are drawing your attention to this automatic expression that you create, that you may allow yourself to relax your focus, and therefore you shall be opening to your periphery and recognizing that many, many situations are not expressed efficiently in the either/or scenario, but that you may be offering yourself much more freedom in allowing yourself to relax and not necessarily choose the either/or.
CARMEN: Yeah. Yes, okay.
Now, one night before I was going to sleep, I heard a female voice say, ďWe are watching you.Ē Now, could you tell me who ďweĒ is?
I had another dream where a group of ... it seemed like older females, and I was in the center and they were standing all around me, and itís like they infused energy into my abdomen, and itís like it just blew me away. But I got the feeling that they were like ... well, this was way before I knew about the essence families. But Iím wondering whether the voice I heard was a member of my essence family who is around me.
ELIAS: No. What you have presented to yourself is an expression of essence. This is an expression that you have allowed yourself in relation to all of your focuses within this dimension.
CARMEN: Okay. How many do I have?
ELIAS: In this particular physical dimension, (pause) 983.
CARMEN: Wow, Iíve been busy!
ELIAS: Ha ha ha ha ha! And continue to be so!
CARMEN: Okay. Well, thatís great.
Now, Iíve had some impressions of some people, and I was wondering if you could just validate or correct them for me.
ELIAS: Very well.
CARMEN: Okay. Now, my mother and my brother, I have the feeling that they are Sumari aligned with Sumafi, but my mother is common and my brother is intermediate. (Pause)
ELIAS: Both belonging to Sumari. I shall express, your mother aligning with Gramada.
CARMEN: Really! Fascinating!
ELIAS: As to orientations, you are correct.
CARMEN: Okay, but my brother is aligned with Sumafi.
CARMEN: That doesnít surprise me. Okay. Now, my father, I have a feeling heís Vold aligned with Gramada, or vice versa, and heís soft. (Pause)
ELIAS: First impression, correct.
CARMEN: Really! Iím correct in all of them with my father?
CARMEN: Wow! Iím better at this than I thought I was! (Elias chuckles) Okay. Could I offer a game offering?
ELIAS: You may.
CARMEN: Okay. Iíve looked on the board, and the latest version of the board doesnít have this entered, so I donít think itís a repeat. Under the category of insects, essence family Sumari, grasshopper. (Pause)
ELIAS: One point.
CARMEN: Really! Oh, wow! Because I almost said Ilda, because it could be like hopping from place to place. (Elias chuckles) I also see Sumari and Ilda sort of being kind of playful and all that. Oh, thatís good!
Now, the next question I have is about my essence color, which is plum. And I really do believe totally that it made perfect sense, and it also explained to me why, when I sometimes stare at a white wall, I will see pools of a plum color. I didnít connect that with myself before; I thought it was another essence. But Iím just very curious why I donít like that color ... well, itís not that I donít like the color, but I would never like wear it. Iím wondering if a part of me is resisting my essence, or if itís just no big deal at all. It kind of made me wonder.
ELIAS: (Chuckling) I shall express to you that this is quite common, in actuality. An individual may resonate with what translates as a particular color, but this color may not be what they identify as their favorite color, or even one that they hold preference to....
CARMEN: Oh, okay.
Now, Iíve been trying to figure out why you feel so familiar to me, because I was really surprised during my last session that I did feel such a strong connection with you, because in reading the transcripts Ė which I had done for quite a while before I requested a session Ė I was definitely drawn to the information, but I didnít feel a strong draw to you, if that makes any sense. (Elias chuckles) But when I spoke to you I felt a real kindredness, almost a similar personality, which surprised me because weíre not of the same essence family.
So, Iíve been trying to figure out or get impressions of shared focuses, and the only feeling I really have is of England, that it maybe was your Oscar focus, and if it was, I have a feeling that I was a male, and that we had like a professional acquaintance, not a real strong emotional one, although Iím kind of iffy on that. But I feel a stronger draw to Beethoven, or at least his music, but I donít feel myself in Austria Ė although with 983 focuses, I must have been there Ė and I donít feel myself in France. And as I said, one reason it puzzles me so much is that Iím not Sumafi, and even see myself as being kind of on the periphery of this forum. I feel like a welcomed guest ... I mean, I donít feel like Iím an intruder barging in, but I was just wondering, could you clarify that for me?
ELIAS: I shall offer to you the suggestion that you allow yourself to be investigating shared focuses that are occurring within the locations of what you recognize as China, as Tibet, one within the physical location of India, and one within the physical location of Japan ...
CARMEN: Oh boy. Yeah.
ELIAS: ... and you may offer to yourself more of an objective understanding. (Chuckling)
CARMEN: Thatís good direction, because I really do feel that Iíve been in England, but Oscar ... I recognize his contributions, but I just donít feel a draw to him. So thatís good. Thank you for that.
One sort of related question is, I do argue with you, and I know youíve heard me Ė I make a lot of racket! And Iím sort of puzzled about my rebelliousness and my resistance to you at times, and maybe when I investigate some of these focuses, Iíll get more information on that. But right now, Iím thinking that in general, I have just a general rebelliousness against symbols of authority; I create symbols of authority, and then I rebel against them, (laughing) which is kind of a funny thing to do, but I think that must be one thing.
I also have this incredible desire to be totally self-sufficient, which probably reveals a fear that Iím not, because if I believed that I had power, I wouldnít have such a strong desire to be self-sufficient! But I also think that I may be experiencing at times what youíve described in the transcripts Ė that we all, at one time or another, reach a point with this material where we kind of back off a little bit, where we kind of re-evaluate within ourselves our relationship to it.
So, are any of these sort of the reasons? Because I donít ... as much as I ... I donít want to say fight with people, but I really donít like to, if that makes any sense.
ELIAS: I am understanding.
CARMEN: Okay! (Laughing)
ELIAS: In this, you are correct that you approach that point, which I have described previously, in which you shall present the challenge to yourself of whether to continue and to be moving into more of an expression of acceptance of self through this offering of information, which presents quite a challenge and at times a great expression of difficulty, in addressing to these belief systems that you hold.
I shall also express to you, you are also presenting to yourself imagery concerning the beliefs that you hold in relation to authority, and in this, you offer yourself the opportunity to move into a genuine expression of recognition that I in actuality hold no authority to you.
ELIAS: But you do not believe that.
ELIAS: Ha ha ha ha ha ha!
CARMEN: I create these symbols of authority. Iíve had dreams about the great Oz ... not that I expect you to be unveiled as anything but what you are, but itís sort of the idea of, ďPlace no head above your own,Ē you know, which is sort of a Buddhist idea.
ELIAS: And in this, where you face the challenge and the difficulty, figuratively speaking, is to elevate YOURSELF to the position of the authority. It is not in ďdethroningĒ an essence such as myself Ė or any expression of consciousness Ė but in elevating YOURSELF to the recognition of the authority.
CARMEN: Now, sometimes I do that, but I donít do that enough, and thatís a very important distinction, I think, so Iím glad I brought that up.
Okie doke. Oh, Iíve got three minutes left. (Elias chuckles) Do I have any questions for three minutes? Well, I have a question about my cat, but itís more of an impression. He has disengaged, and I had a really strong feeling that he did have some essence energy combined with his energy, and that this essence was very close to me. Am I correct in assuming that?
ELIAS: Let me express to you a clarification.
I have expressed and identified that your creatures are not essence, which as I express that to you, what I am offering to you as information is that they themselves do not hold an individual essence. But they are all an expression OF essence, for all of the creatures, all of the manifestations within your physical dimension, are created by YOU.
Therefore, they are OF essence. They merely are not holding an independent essence individually, but this is not to say that they are separated from essence. Are you understanding this distinction?
CARMEN: I hope so, because I really ... Iím going to go back and really think on it, because some of the information on creatures, I have felt ... because I always thought they were equal to me....
ELIAS: And they ARE.
CARMEN: When I look into an animalís eyes, itís just like, well, youíre just another person, but I know youíre not a person, youíre not human....
ELIAS: But they ARE equal to you.
In this, many, many, many individuals are misunderstanding of this information, and objectively view creatures as less than yourselves, which is merely a reinforcement of your existing beliefs. This is NOT what I am expressing to you all.
What I am expressing to you is not a lessening of your creatures within their position or within their expression, for they are not less than you, for they ARE you. Therefore, how may they be less than you?
I am merely expressing that they do not hold an individual essence which is created of each one of them, or that they are created as an expression, each, of an individual essence.
They are a creation of you. Therefore, they ARE you. Therefore, they may not be less than you.
CARMEN: Right. Well, he really was something! (Elias chuckles) I hope heís happy.
ELIAS: Now; as to your impression, I may express to you, as I have expressed previously, at times there are essences that project an aspect to a creature. This is a different type of expression than what we have been discussing in relation to these creatures. There may be, at times, a specific aspect of an individual essence which may be projected into the manifestation of a particular creature.
What I am expressing in this is that the aspect of the individual essence contains certain qualities, certain personality qualities that are being projected to the creature, and they also are allowing for the essence to be assimilating certain information in a different manner through the experience of the creature.
Now; as to your question concerning this particular creature, I may express to you that you had drawn yourself to this particular creature, as that creature held an aspect of YOU.
ELIAS: And this was your recognition of draw.
CARMEN: Oh, wow. Okay. Interesting! You know, I really didnít have that hard of a time giving him up. I mean, I was the one who Ė well, with his agreement Ė had him ďput down,Ē if thatís the right term, but boy, when I knew he had to go, I really knew he had to go. I had guilt for a while, but now I feel pretty good about it. He gave me a lot of years. (Elias chuckles)
Well, Iím a little bit over time, so I really want to let Mary come back, but I again want to thank you so very, very much. I also want to thank you for the messages or the energy ... when I DO notice it. There was one time in particular that was really, really meaningful to me. So, thank you very much, Elias.
ELIAS: You are very welcome, my friend. I shall be anticipating our continued interaction.
CARMEN: Thank you.
ELIAS: I offer to you great affection, and express in tremendous lovingness to you this day, au revoir.
CARMEN: Au revoir.
Elias departs at 1:26 p.m.
(1) I have removed the word ďalthoughĒ from this sentence. It was originally stated, ďNow; I may also express to you that although some of these expressions that you are identifying...Ē
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