Saturday, January 13, 2001
ďThe Death of a PetĒ
ďThere Are No AbsolutesĒ
ďThe Challenge of SimplicityĒ
Participants: Mary (Michael) and Liz.
Elias arrives at 3:16 PM. (Arrival time is 20 seconds.)
ELIAS: Good afternoon!
LIZ: Hello, Elias! Itís good to talk to you!
ELIAS: Ha ha! And how shall we proceed this day?
LIZ: I lost a cat that was very special to me over New Yearís, and I have some questions about that.
ELIAS: Very well.
LIZ: I have several cats, but this one was very, very special. I guess I knew that when it was time for him to go, that it was going to be very painful. I had recognized that for several years, and I suppose I created it being very painful just because it was more fun to do that ... I donít know. (Elias chuckles) But he was not really an old cat. He was kind of middle-aged, and Iím curious why he chose that time to do it, to die. Would you have any idea?
ELIAS: I may express to you that this action was a cooperation between yourself and this creature, for it matters not that the creature was not creating what you term to be a lifetime which incorporates old age, so to speak.
The creature has created movement throughout its focus in conjunction with you and the movement that you have created.
Therefore, in the recognition of your movement, incorporating what you term to be ďtimingĒ in physical focus, there was a recognition that this type of choice would be impactful within your focus and would offer energy and facilitate movement within you, allowing you to offer a new understanding of information that you have been assimilating in recent time frameworks.
LIZ: I see. I kind of guessed that, I guess. If I had consciously choreographed the whole scenario that I went through with his death, I couldnít have done it any tighter than it worked out. (Laughing)
ELIAS: Ha ha!
In this, you may be acknowledging of yourself that you have allowed yourself an objective awareness of your own creations, of your own participation in this scenario, and of your objective understanding of the concepts that you have presented to yourself.
This has been, in a manner of speaking, an offering of energy to you from this creature, in allowing you a type of participation that shall move your awareness objectively into more of a genuine expression of reality rather than merely concepts.
LIZ: Well, that was certainly ... yeah. There was an awful lot of imagery that went with his passing, and as he became ill, at first I thought he had diabetes and I took him to the vet. I decided that I would honor my beliefs that the vet could do no wrong, but the things he displayed to her were very, very different from what I saw. She would put him on the table and say, ďOh, heís getting so much better. He can walk now, he can find the cat box, he can see again, he is no longer blind,Ē and Iíd get him home and he wasnít anything like that. And I finally realized that it was very possible for us to be seeing this ... genuinely seeing this display in our own realities with the same cat.
ELIAS: Quite, and in that, the creature creates its reality in cooperation and in relation to the expectation of each of the individuals that it is interacting with.
LIZ: So part of this ... I had a fear when this first started that he was dying, and I decided that I was going to ignore that. So my perception that this animal was in the act of dying actually helped to create that.
ELIAS: No, not in those terms. You are viewing this situation in terms [that are] in alignment with familiar beliefs that you hold.
In this, you create a viewing of the scenario in conjunction with those beliefs, expressing to yourself that you have created a perception or a direction of thought, and in that, you assess within yourself that therefore you have created that action in coming to fruition. But in that identification and thought process, you are reinforcing aspects of judgment and discounting of yourself.
For in actuality, what you have created is a relationship with this creature for a time framework, and within that relationship with this creature, the creature also is creating and expressing its reality.
Now; it is no accident that you have drawn this particular creature to yourself and created the type of relationship with this creature that you have held, for this creature created its reality in this physical focus quite in conjunction and in cooperation with you.
Therefore, you are not responsible for the choices of the creature, and you are not dictating to the creature what its choices shall be. But in cooperation with your movement and your energy, in a manner of speaking, the intent of the creature was to mirror certain expressions to you, and also to move in its own creations and choices in a manner that would be in harmony and in cooperation with whatever you chose to be addressing to in a particular time framework.
The creature does not hold the beliefs that you hold. Therefore, the choices that are engaged by the creature are neutral. They are chosen knowing that they shall be enacted in the most perfect alignment with its intent, which was to be facilitating energy with your choice of your movement. This particular creature has created a very efficient and perfect harmony with your movement.
In this, in recognizing the desire that you hold in this time framework to objectively understand certain aspects of information that you have provided to yourself, and knowing that the genuine objective assimilation of some of these concepts shall be greatly influencing of your movement in creating more of an ease in how you create your reality, the creature, in perfect harmony to that recognition of your movement and your choices, engaged a choice to be creating an action that would be helpful to you, in a manner of speaking, in allowing you to move into an expression of actual physical participation, which also allowed you more of an objective understanding of what you are engaging within self. Are you understanding?
LIZ: Sort of. Yeah, sort of.
ELIAS: You have chosen to be examining self. You have chosen to be assimilating information that you have offered to yourself, concepts that you have presented to yourself, and in that choice, there is an underlying strength in desire to be not merely assimilating that information subjectively, but holding an objective understanding of it that shall allow you to apply this in genuineness within your focus, knowing that this shall be creating a greater expression of freedom that you shall allow within self, and that freedom is expressed in becoming familiar with yourself and how you create your reality, and the recognition of your choices and those areas within you that you deny your choices.
In this action, in this choice of this creature, it has expressed an energy to draw you into participation with it, and in that participation has offered you an expression of energy which you have received, and now shall allow yourself to draw upon that energy and that experience to allow yourself more of an objective understanding of how you individually create your reality, and become much more familiar with you.
LIZ: I see. All the time this was going on, I had a feeling that there was something rather profound happening and I should be paying attention. I kept feeling that there was mirroring going on, but I wasnít able to really understand what the mirroring was about when the cat became blind. Through the whole time framework, I was having trouble seeing. My glasses would get dirty, my windshield would get dirty, my monitor would get dirty Ė everything was pointing to having trouble seeing. Was I mirroring the cat or was the cat mirroring me, or what was going on with some of the imagery that was....
ELIAS: In a manner of speaking, the creature expressed a mirroring to you of what you were engaging.
You offered yourself communications to yourself through your visual sense, and in this, your expression to yourself or the communication that you were offering to yourself was an identification of being clouded to an extent, and not genuinely holding a clarity in understanding some of the information that you had been providing to yourself through different avenues, and your assessment that you were engaging different concepts, but not quite objectively holding a clarity in your understanding of them or how they may be related in what you view as practical terms and application.
Therefore, in cooperation with you, the creature displayed to you that particular manifestation, although as I have stated, the creature also chose to merely be creating that manifestation in relation to you.
This you may view as perfect harmony of this creatureís choices and manifestations in relation to what you engage and create.
This is not to say that you have dictated this to the creature, for be remembering that the creatureís intent was to be in perfect harmony with you and your movement, and therefore expressing a reflection continuously to you through its own physical expressions.
But in relation to other individuals or when not interacting with you physically, its choices of how it created its manifestation altered.
LIZ: Okay. Thatís fascinating.
ELIAS: This also holds information for you in itself, for it provides you with the opportunity to view the expression of choice and the recognition of the reality that there are no absolutes.
For the creature, without the influence of belief systems, allowed itself to move in different physical manifestations and choices and alter its reality in different moments in what may objectively appear as an impossibility.
For in terms of absolutes, the creature shall either be expressing blindness or not, but it shall not express both Ė that it shall be creating blindness in one moment, and seeing in another moment, and blindness again in another moment. This appears to be inconsistent within your beliefs, for your beliefs express absolutes.
LIZ: True, yeah.
ELIAS: Therefore, in perfect harmony in its expression of energy with you and your desire to be objectively understanding and viewing these concepts Ė one of which is that of no absolutes Ė the creature expressed physical manifestations to you as an example, providing you with physical objective imagery that shall be helpful to your understanding.
LIZ: Wow. One of the other things that Iíve been getting a lot of imagery for lately is, I call it slow down imagery. It seems like I keep delaying myself or slowing down. I get behind slow cars, I get behind people, and I also donít move. What am I doing with that? (Elias chuckles) Itís certainly frustrating! (Laughing)
ELIAS: (Chuckling) It is frustrating, for it is unfamiliar.
ELIAS: And in this, what you are expressing to yourself in this exhibition of imagery is that your desire is to be incorporating time framework to be paying attention to you and to be becoming more familiar with you and all of the manners in which you communicate to yourself, becoming familiar with all of your own expressions.
In this, you create a slowing in objective imagery in which you prevent yourself from moving ahead, in symbolic terms, quickly, and therefore you hold yourself in moments that provide you with this time to be noticing you.
As you allow yourself to be paying attention, not merely to the objective imagery in this slowing of actions, but to be noticing what you are experiencing in these situations, you may also become much more familiar with your own communications to yourself. For you are communicating information to yourself in these time frameworks, but your attention moves to the imagery and is not noticing the communications that you are offering to yourself.
Therefore, you create the signal of frustration, which is the signal to you, in objective terms, in feeling that emotion, that you are offering a communication to yourself Ė you are expressing a message to yourself Ė and as you continue to not receive the message or the communication, you continue to create the signal of frustration.
LIZ: Ah, okay. (Elias chuckles) Itís all so obvious if you just see it! (Laughing)
ELIAS: Ha ha ha ha ha! And quite simplistic! But once again, you are so very fond of complication, are you not? Ha ha ha ha!
LIZ: I am! Iíve been demonstrating that to myself with a computer game, and Iíve discovered that Iím just instantly able to complicate almost anything! (Laughing)
ELIAS: Ha ha ha ha ha! As are most individuals within your physical dimension! Ha ha ha! For this is intriguing to you! It is exciting and it holds your attention. Therefore, you play with complication! (Chuckling)
LIZ: I guess I was trying to figure out how to get over the fascination with it! (Laughing)
ELIAS: Ha ha ha ha! I shall also express to you, it is quite challenging to be allowing yourselves to view the simplicity of most of your expressions and your motivations and your movements.
But once again, you present to yourself the redefining of terms, which also subsequently redefines your reality.
You define simplicity as an expression lacking challenge, and also lacking surprise. That which shall be simple shall be mundane and uninteresting to you, for it shall provide you with no expression of challenge.
And in this, as you begin redefining your terms and turning your perception to allow yourself to examine the genuine expression of some of these terms, you also move into a recognition that simplicity is not synonymous with the lack of challenge. (Chuckling)
You need not be complicating expressions or movements to be continuing to challenge yourself in your ability to accomplish the actualization of simplicity. (Chuckling)
I may express to you, my friend, the actualization of many expressions in simplicity may be MORE challenging than your creation of complication! (Chuckling)
LIZ: Iím afraid youíre probably right about that! (Laughing)
ELIAS: Ha ha ha! For this is much more unfamiliar to you, and aspects of your reality that are unfamiliar to you ARE challenging!
LIZ: Yeah, thatís true. Thatís very true! (Elias chuckles)
I was talking to Mary prior to the session about ... before I ran across your material and the Seth material, I believed that I could think myself out of anything, and for the most part, I could. And since then, it doesnít work anymore! (Laughing, and Elias chuckles)
So, Iím thinking that as we assimilate this material that youíve given us, our reality is not so reliable anymore. (Elias chuckles) Things donít work like they used to, you know? And people who have good strong beliefs and things kinda have the advantage Ďcause they can make things work! (Laughing)
ELIAS: Ah! And this is viewed as an advantage!
LIZ: I donít know!
ELIAS: Let me express to you, the reason that, in your terms, it does not work any longer for you to be creating your reality in the same manners as which you have previously is that you are changing your reality.
LIZ: Itís not the same reality anymore.
ELIAS: You are correct.
LIZ: Oh! Now, I hadnít thought about that!
ELIAS: The methods that you have incorporated previously do not fit any longer, for your reality is altered.
As you widen your awareness, you in actuality, literally are altering your reality. This is created in a natural manner, and you move easily into that type of alteration in harmony with the objective and subjective so efficiently that objectively you do not recognize that you have even altered your reality!
LIZ: I buy that!
ELIAS: But you provide yourself with evidence that you HAVE altered your reality, for your previous methods do not work! (Liz laughs and Elias chuckles)
LIZ: Yeah, and you know, ever since you said that nothing is broken, Iíve broken things!
ELIAS: HA HA HA HA! In the attempt to rebel and reinforce to yourself, ďNo, no, no, Elias! I am comfortable with my previous reality and the expression of absolutes, and I shall create imagery to myself of broken, broken, broken, and reinforce my belief in tried and true familiar expressions of reality!Ē HA HA!
And I may express to you, you may continue to be creating this imagery of breaking elements within your reality, and you shall also continue to present yourself with the exhibition of no absolutes! HA HA HA HA!
LIZ: (Cracking up) Thatís very comforting!
ELIAS: Ha ha ha ha ha!
LIZ: The other thing Iíve got a problem with is that ever since I read that physical objects can disappear and just leave our reality, Iíve got a growing list of things that are gone, and they donít seem to want to come back! (Laughing)
ELIAS: Ha ha ha ha! NOW your challenge lies in the simplicity of knowing that these things, so to speak, have not disappeared, in a manner of speaking, but that YOU have removed them from your objective reality temporarily.
LIZ: Well, Iíll tell you what Ė the list is getting longer!
ELIAS: HA HA HA HA HA!
LIZ: Theyíve gotta be cluttering up somebodyís reality somewhere!
ELIAS: Yours! (Chuckling, and Liz cracks up)
This would be YOUR reality that they may be cluttering in other expressions in probable realities. Ha ha ha ha! And as you continue to express that they are creating this action themselves and that YOU are not creating this action, you shall continue to create this action to provide yourself with your point! (Laughing)
LIZ: Well, thatís comforting too! Geez! (They both laugh)
I do have a question about ... when the cat was sick before it died, I had a little session with my garage door. I had come home Ė Iíve got an automatic garage door Ė and the darn thing went up and down like five times in an hour. It went up by itself and I put it back down, and it would go back up and I would put it back down. My first thought was, some kid somewhere got a toy for Christmas, and itís on the same frequency as my garage door. (Elias chuckles) Then I think I realized that I was doing that, and that there was some expression of energy possibly Ė I was pretty exasperated at the time Ė that was being expressed through my garage door opener. (Laughing, and Elias chuckles) And once I figured that out, it stayed down for quite a while. But the other night, it had gone up at some time Ė I didnít hear it go up at that point Ė and Iím curious. Why am I opening my garage door? What am I telling myself?
ELIAS: (Chuckling) You are expressing the same message in many different types of imagery. You are, in effect, wrestling with yourself in this concept of no absolutes, and providing yourself with objective imagery that appears to you as irrational and at times impossible.
LIZ: Well, irrational is certainly ... if I was gonna do it consciously, I would rather do something that was less trouble than opening the garage door in 20-degree weather!
ELIAS: Ha ha ha ha! But this obtains your attention, does it not?
LIZ: Itís very efficient! (Laughing)
ELIAS: Ha ha ha ha ha! Therefore, you may be acknowledging of yourself (Liz cracks up) that you are choosing imagery that IS efficient and DOES gain your attention quite well! Ha ha ha ha!
LIZ: It certainly does that! (Laughing)
ELIAS: (Chuckling) I may express to you that individuals within physical focus quite commonly create this type of movement in a desire to be objectively assimilating and genuinely allowing themselves an understanding of any particular concept within certain time frameworks.
In this, you, in like manner to many, many, many other individuals, create a repetition in imagery and create expressions that repeatedly shall gain your attention in many different manners, [which] all may be examples of the same concept that you are providing yourself with in that time framework.
LIZ: Okay. Well, I know that Mary and I talked a little too long and I donít want to keep you into somebody elseís session, so I want to wrap this up. But I want to ask, in terms of family and alignment ... Iíve been kind of wrestling with this and trying to figure it out for myself, and I donít even know if Iím close. But Iím thinking Iím belonging to Sumafi, aligned Sumari, or vice versa. Am I in there?
ELIAS: Belonging to Sumafi, you are correct; aligning with Ilda.
LIZ: Ilda, okay. Iíll have to go back and read some more then! (They both laugh) Well, I appreciate very, very much your answers. Thank you so much!
ELIAS: You are very welcome, my friend! (Chuckling) And shall you allow yourself to be engaging playfulness in your movement and exploration, and not be convoluting yourself to extreme in such seriousness? (Humorously)
LIZ: Oh no! Thatís a challenge!
ELIAS: Ah! (Laughing) And I shall provide to you an expression of my energy in playfulness that may remind you to be not creating this continuous expression of convolutedness in that seriousness!
LIZ: (Laughing) Okay!
ELIAS: HA HA!
LIZ: Donít raise my garage door, though! (Laughing)
ELIAS: It is unnecessary. You are quite efficient! (Liz cracks up) You have efficiently created this action yourself! Rather, I may choose to be incorporating perhaps an expression of tickling energy!
LIZ: (Laughing) Thatís a deal then!
ELIAS: Which shall be a gentle reminder to you to be playful!
LIZ: I will try to do that.
ELIAS: (Laughing) Very well! I anticipate our interaction and meeting once again within physical proximity.
LIZ: Yes! Yes, next week. (Elias chuckles) Itíll be fun!
ELIAS: Shall we incorporate playfulness in that time framework also?
LIZ: Oh, I hope so!
ELIAS: HA HA! (Chuckling) And simplicity!
LIZ: Yeah! Yeah, thatíll be a challenge. The simplicity part is always a challenge!
ELIAS: Ha ha ha ha ha! Simply, simply, simply! Remind yourself objectively, simplicity is not the lack of challenge. Ha ha ha!
LIZ: Alright, I will do that.
ELIAS: (Laughing) To you in tremendous affection and anticipation of our next meeting, my friend, I express lovingly, au revoir.
Elias departs at 4:05 PM.
© 2001 Mary Ennis, All Rights Reserved.