Sunday, April 29, 2001
ďBees, Mosquitoes, and Rocks!Ē
Participants: Mary (Michael) and Liz.
Elias arrives at 11:51 AM. (Arrival time is 20 seconds.)
ELIAS: Good morning!
LIZ: Good morning, Elias! (Elias chuckles) How are you?
ELIAS: As always, and yourself?
LIZ: (Laughing) Itís good to talk to you!
ELIAS: (Chuckles) And how shall we proceed?
LIZ: Well, I donít have any real trauma going on right now, but Iíve got some kind of ... just some questions.
ELIAS: Very well.
LIZ: Iíve been hearing music in my head, and Iíve had the TV and the radio off for like a year. I hear this mostly in the car, but I hear it all the time, and it can be anywhere from just a single flute to a symphony to choral music Ė I mean, itís all kinds of music. Itís classical, itís jazz, itís everything! (Laughs) Iím just curious what Iím tuning into.
ELIAS: First of all, offer to myself your impression as to what you are creating.
LIZ: I really donít know. Mostly, itís just music out there floating around and anybody can grab it. I really donít know what it is. The other thing that occurred to me is that there might be music going on in other focuses that Iím tuning into, but I really donít know.
ELIAS: And I may express to you, both of these responses or answers are correct, for in actuality the tones of music are expressed within consciousness, and you may allow yourself, in a manner of speaking, to tune in to any of these expressions of music within any moment.
I may also express to you that you do participate in creating musical tones in other focuses; therefore you are drawing upon the energy of those focuses in allowing yourself to be accessing the tones that are expressed within consciousness.
Let me also express to you, individuals within your physical focus create musical compositions; but the manner in which they create musical composition is an allowance of themselves in openness to that aspect of consciousness, pulling expressed tones from within consciousness to their objective awareness and expressing the musical notes in combinations that they create individually Ė and this becomes a particular musical composition. What I am expressing to you is that the composition that any individual creates in any moment is their arrangement of the tones that exist within consciousness.
Therefore, it is quite similar to any other creation that you express within your physical reality. You may be creating a physical object, and you may be incorporating materials such as clay or wood which have already been created and exist, so to speak, within your reality, and you are reconfiguring the structure of these elements within your reality to create another object. (1) Correct?
ELIAS: In relation to musical tones, the tones exist within consciousness, and you draw from those tones and choose a particular manner of arranging tones together to produce a musical composition. Therefore, your assessment that the music is present already and that you merely may be tapping into an association with it in any particular moment is quite correct.
LIZ: I see. Well, itís certainly fun to do. (Elias chuckles; 21-second pause) Iím wondering if weíve lost our connection.
LIZ: Oh, okay. (Laughing) I wasnít sure!
ELIAS: You may continue.
LIZ: One of the things Iíve done for several years now Ė and itís only dawning on me this year that Iíve created this Ė is every spring and summer I have large bees that come to live around my house. I realized last weekend that Iím scared of them; I mean, itís just real live gut-wrenching fear. So I decided that I wouldnít mow the lawn, Iíd come in the house, and Iíd think about the fear and see if I could figure out why I had bees. What I came up with is that my house is an extension of me, and Iím safe here because itís me; but when I go outside Iím facing maybe my fear of what I see as the rest of the world, and the bees are representing that. Is that what I am doing?
ELIAS: Partially, for you view other expressions outside of yourself as menacing.
Now; you also present yourself with this particular expression of creature quite purposefully, for you present yourself with these creatures as you view them to be not merely menacing but also potentially hurtful. But in the drawing of this particular type of creature, you also present yourself with an avenue to be expressing co-existence, in a manner of speaking, for you recognize that these particular types of creatures shall not necessarily be menacing to you if you are not antagonistic to them, or if they are provided with objects of their interest. Are you understanding?
LIZ: Yes, sort of.
ELIAS: In this, if there is a provision for the interest of these creatures, they shall not be expressing much interest in you. This creates a type of safety in your experimentation of attempting to be creating your reality safely and without fear or hurtfulness in relation to yourself, in a type of co-existence with other aspects of reality outside of yourself.
The manner in which you allow yourself to engage this opportunity to move more freely within your creation of your reality is first of all to be recognizing the expression of fear, identifying what you are expressing fear in relation to, and allowing yourself to choose manners in which you may be creating a reality that dissipates that fear.
LIZ: Okay, I think I understand that.
ELIAS: This is an experiment that you are engaging, and have been engaging.
LIZ: (Laughing) I just love the way I experiment! I always get my attention!
ELIAS: (Laughs) Quite creatively!
Now; I may express to you quite simply that you may be incorporating objects of these creaturesí attention and allow yourself further movement in your experimentation with them, and recognize that you in actuality may move freely within their midst and physically, in your terms, co-exist with these creatures without fear and without the menacing expression that you are familiar with.
LIZ: In my observing them over the years, Iíve never found them attracted to flowers. Theyíll be out where the flowers are, theyíre just hovering out there, and if I go out itís like theyíre very curious and they fly around me a little bit. They donít always, but they do often enough that thatís what scares me. So, Iím thinking that Iíve created that, too. (Laughing) Iíve created them not being interested in anything, but being curious about me.
ELIAS: Partially, you are correct.
LIZ: That figures! (Laughing)
ELIAS: I may express to you that the object of their attention is not necessarily flowers, in what you associate that they should be attracted to, so to speak; for these creatures hold much more of an interest in certain types of vegetation Ė not necessarily flowers, so to speak. You may be incorporating, quite simply, a type of vegetation that bears fruit, for this creates much more of an attraction in its flowering to these creatures.
And you are correct, they do express a curiosity. They are quite sensitive to fragrance of many different types. Therefore, as they do not create much of an interest in your flowers, their curiosity moves to other objects Ė you, yourself!
LIZ: (Laughs) And Iím always careful not to wear perfume or anything outside Ďcause I donít want to attract them.
ELIAS: Ah, but it matters not...
LIZ: But thatís not what theyíre attracted to Ė itís my own scent!
LIZ: Great! (Laughing) Thatís dandy! (Elias chuckles)
The other thing that I always attract in the summertime is mosquitoes. I can go out anywhere and get bit. It just doesnít ... it dawned on me the other day that I do this because I was told I do this when I was a kid, so Iíve always believed it. If I would just accept that belief and move on, maybe the mosquitoes wouldnít be so crazy about me.
ELIAS: Ah! And I may express to you in relation to BOTH of these creatures that underlyingly, in actuality, you offer yourself the payoff of a validation to yourself quite in alignment with an expressed belief within your mass society.
That identification ... although you may view it to be humorous, in actuality there is an alignment with the belief that if you as an individual are expressing in your energy a kindness, or what you identify as ďnice,Ē or that you identify as ďsweet,Ē these particular creatures shall be more attracted to you!
LIZ: Oh dear. (Laughs) Thereís a lot to think about there.
ELIAS: Ha ha ha ha! This is not to say that you may be moving into an expression of invalidating of yourself or discounting of yourself to be ridding yourself of these particular creatures, but that you merely allow yourself to recognize that this is in actuality a strongly held underlying belief within you; and once recognizing that and allowing yourself your own expression in validation of yourself Ė but not confirming that to yourself through outside expressions objectively in relation to creatures that you do not necessarily wish to be encountering Ė you may be allowing yourself the freedom to express your energy differently.
LIZ: Thereís a challenge in that, Ďcause I have a lot of automatic responses to these things. (Laughs)
ELIAS: Ha ha ha ha! In like manner to many other individuals!
LIZ: Iíve done better with breaking things; I havenít broken anything recently...
ELIAS: Ha ha ha ha!
LIZ: ...except on the way to work the other day, I threw a rock at myself at the car, and I broke the windshield. (Elias laughs) At the time that the rock hit the windshield Ė and it hit right where I view out the windshield, so itís right in my line of sight all the time Ė I was engaged in discounting myself when I got my attention with that. Is that why I threw the rock? I mean, it just seemed like such a huge thing to do for such a little thought, you know? (Laughing)
ELIAS: (Laughs) Ah! But...
LIZ: Iím aware that I throw rocks at myself a lot, I realize that, but normally I just chip the passenger side of the windshield. Iíve noticed that I tend to get behind sand trucks a lot, or trucks hauling rocks, and so Iíve been watching that so that I donít, because I can control that. But this rock came from the other lane, from a car going the other direction. I went out of my way to throw this rock! (Elias laughs) So itís not an easy ďoh yeah, it just came off of that truckĒ kind of a thing. It was done very intentionally.
LIZ: Iím just really disgusted that I took such extreme action over that little duplicitous thought.
ELIAS: Ah! But I may express to you that the objective imagery in actuality is in proportion to what you were expressing and in proportion to how you chose to be emphasizing a particular action and automatic movement to yourself.
For although you may assess in one moment that your discounting of yourself is a small expression, this is not the point. The point is the frequency of those expressions, and in your terms the overall recognition of the affectingness of this action of discounting yourself; and therefore, what you view to be an extreme with the rock and the shattering of the object of the glass is in actuality quite in proportion in relation to your communication to yourself, to not merely gain your attention but also to attempt to be shattering this automatic expression that you create frequently.
LIZ: Well, I will admit, I was in one of those loops of discounting myself, and then discounting myself for discounting myself, which can loop on for quite a while.
ELIAS: Correct! (Nodding and chuckling)
LIZ: Okay. Well, I think instead of replacing the windshield, because Iíve been so fond of breaking windshields, anyway...
ELIAS: Ha ha ha!
LIZ: ...Iím going to concentrate on seeing if I can make it heal itself. (Both laugh) Iím thinking that when it gets really hot I might be able to convince myself that it will melt back together again. I donít know if I can convince myself of that or not. (Elias chuckles)
Iíve had a couple of dreams that Iíd like to ask you about a little bit.
ELIAS: Very well.
LIZ: Iíve not had really lucid dreams in years until this last year, and Iíve not had a lot of them, but Iíve had a few and many of them seem to deal with water. Iím wondering if water is my symbol for consciousness, or if itís a dream trigger of some kind.
ELIAS: I may express to you, a dream trigger.
LIZ: Ah! Okay, so if the next time I see water, if I just dive into it maybe I can get somewhere?
ELIAS: If you are so choosing, yes!
LIZ: Ah! Thatís good to know. Iíve been wondering what I might have for a dream trigger. Okay, and then Iíve got a bunch of really kind of strange questions.
One of my hobbies is physics. Iíve always been fascinated with quantum physics, and in reading your transcripts and stuff, it dawned on me a couple of months ago that if time is simultaneous, time is related to space and physics, so is space simultaneous, too?
LIZ: Okay, so space is not big like we think it is, at all, really?
ELIAS: In one term, your association with the largeness or the vastness of space is partially correct. But also I may express to you as I have expressed previously, your association with space is extending outward. As you view space and your exploration of it, your association is that as you explore farther outward, you shall offer yourselves more of a discovery of other beings, so to speak.
I have expressed previously, all space arrangements are the same. All physical dimensions occupy the same space arrangement. They are, in a manner of speaking, superimposed upon each other. The very space that you physically occupy presently within your home is also an expression of space arrangement for countless other physical dimensions and other physically manifest focuses of consciousness, of essences. You all occupy the same space arrangement.
It is vast, but it is all the same. It is merely configured differently in relation to the different expressions of consciousness and how essences choose to manifest certain physical expressions and manifestations. In this, yes, it is simultaneous in the expression of space as well as time.
Now; time is also quite flexible. Therefore, the expression of time in your physical dimension is relative to your physical dimension, and may not be relative to another physical dimension at all.
LIZ: I see. (Pause) I sort of see. That kind of bends my mind a little bit, but yes, I can understand that. (Elias chuckles) So, as I make modifications to my home Ė because Iím engaged in last yearís porch trauma still (laughs) Ė am I also modifying other dimensions, or they donít perceive...
ELIAS: No, not necessarily. There are veils between the layers of consciousness, which, in a manner of speaking, objectively separate the different physical manifestations of different dimensions, but not entirely.
For as I also have expressed previously, there are expressed physical bleed-throughs which manifest within your physical dimension that are in actuality expressions of other physical dimensions. They are configured into the physical design of your dimension, but in actuality they are not of your design, so to speak, in the blueprint of this particular physical dimension; and in like expression, there are some physical manifestations in other dimensions that are the design of your physical dimension, that have bled-through into those dimensions.
LIZ: It would be really nice to think that the cracks in my basement were just a bleed-through from another dimension. (Laughs, and Elias laughs) Thatís probably pushing it, though!
ELIAS: I may express, in this situation you are correct. (Both laugh) This is your creation! HA HA HA!
LIZ: Well, that figures Ė and it figures that my foundation would be cracked, you know! (Liz and Elias laugh) Iím just hoping that I donít have to move the house off the foundation in order to accomplish the shift! (Elias cracks up)
This is just a little thing Ė thereís been some talk here and there about my orientation, and people trying to guess what it is. My perception is that Iím common. Am I right?
ELIAS: Yes, you are correct.
LIZ: Ah, thank you. (Elias laughs) I kept holding out for common! (Laughs)
ELIAS: (Humorously) And now, as you breath a sigh of relief that you shall not be either of the other two orientations and incorporating tremendous trauma...
LIZ: Absolutely! Iíve got enough trauma! (Elias laughs) Iím perfectly capable of creating plenty of it! (Both laugh)
ELIAS: Your fascination is quite in alignment with the orientation of common in creating much objective outward expressions. (Chuckling)
LIZ: Yes, thatís what I finally decided.
I want to ask you a little about my eyesight. We talked a little bit last time about how everything is always cloudy all of the time; Iíve gotten over some of that. But Iíve gotten to thinking about wearing glasses, and Iíve worn glasses forever. I realized that when I have my glasses on, Iím safe. Nothing can get me, because I can see it coming! (Elias smiles and nods) Iím wondering if ... you know, the whole idea of expanding consciousness is to be able to relax the way you look at what youíre creating so that you can see more, right?
ELIAS: In a manner of speaking, yes.
LIZ: When I take my glasses off, I canít focus on this reality. So if I were to go more without my glasses, would that help me expand my consciousness? Would I present myself ... I guess it would be a choice if I would present myself with other things. I donít know.
ELIAS: Yes, you are correct. It is a choice. I may express to you that this also may be an interesting experiment that you may be incorporating, for this type of expression moves you more into a direction of trust for you shall require yourself to trust if you are not creating the familiar associations of control.
LIZ: True, thatís true. You talked in the last session a little bit about simplifying things, and what I finally came up with is, this simplicity thing really boils down to trust.
ELIAS: You are quite correct.
LIZ: I didnít think it was an issue at the time that you said it, but as I thought about it, it does seem to be a real issue that I donít trust a lot of things Ė particularly myself.
ELIAS: Correct, and this also reinforces your own creation of the fear.
LIZ: Yes, thatís true. I donít consider myself to be a really fearful person, but the trust issue would point that out.
LIZ: It is still there.
ELIAS: Correct. For in actuality, as you allow yourself to become more familiar with yourself in creating this relationship with yourself, you shall also allow yourself to view that your expression of fear extends farther beyond the mere presentment of bees and mosquitoes.
LIZ: Yes, Iím sure thatís true. (Elias laughs) Iím sure thatís true. I guess I just donít dwell on where that fear is, because if I leave it alone it isnít there! (Laughs)
ELIAS: Ah! And I express to you it is unnecessary to be dwelling upon it, but merely allowing yourself to investigate and become familiar with yourself and your expressions; and in this, as you begin allowing yourself to identify the different avenues of your own expressions that are associated with fear, you also offer yourself new freedom and may allow yourself, rather than the automatic responses, the response of choice and [the] recognition that in actuality as you create fear, you create expressions to be fearful of.
LIZ: Iíve noticed that since I gave up fear, I donít fear myself nearly so much.
ELIAS: As you create trust, you also create more of an expression of expansion within yourself, for you allow yourself much more of a mobility and a freedom to be exploring.
LIZ: Iíd be happy if I could just mow my lawn in the daylight and not have to wait for the bees to go away. (Elias laughs) I thought I might have to get headlights for the lawnmower! (Both laugh)
ELIAS: And perhaps you may experiment with these suggestions, and you may allow yourself less of extreme creations with lights for your lawnmower, (Liz laughs) or flinging rocks toward yourself, or cracking your foundation! Ha ha ha!
LIZ: Yes, Iíve been quite busy! (Both laugh) I really am tired of it Ė Iíd like to move beyond this, and I guess trust is the whole thing.
ELIAS: Quite! And you may surprise yourself at the ease in which you may be creating your reality, my friend, in expressing that trust! (Chuckling)
LIZ: Thatís an interesting thing, because when I came to this information a year ago, I didnít trust anything but me, and I realized at the time, when I was going through it, that that was a real scary thing to look at. So itís going to be interesting to work through, to see how many more windshields I crack.
ELIAS: And be recognizing also the strength of familiarity, for as you become quite familiar with complicating your reality and creating difficulty and tremendous challenge, that becomes the ease.
LIZ: Thereís an old saying that goes ďwhatever can go wrong will go wrong,Ē and I realized to what extent Iíd bought into that when I started reading the transcripts. And itís not a good thing to buy into! (Laughs)
ELIAS: And also in those types of associations, you become suspicious of movements of your own expression that are not created in difficulty.
LIZ: Thatís very true. Yes, Iíve noticed that. I noticed that when something went really easy, I kept waiting for something to go wrong.
ELIAS: Ha ha! Quite!
LIZ: Maybe I could move beyond that now. That would be nice, to be able to let that go.
I should probably let this go; I think Iíve done my hour now. But I really, really appreciate the information, Elias. Youíve helped me a great deal with a lot of things here and given me an awful lot to think about.
ELIAS: You are quite welcome, my friend.
LIZ: I appreciate it very much.
ELIAS: (Chuckling) Continue with your humor in relation to your complications! Ha ha ha!
LIZ: (Laughing) Well, a lot of it is recognizing that youíre doing it to yourself, and it is funny to know that you would do these things! I mean, my god!
ELIAS: This in actuality, my friend, may be one of your greatest allies in your expressions in allowing yourself to move into more of a trust and less of the extremes. (Chuckles)
LIZ: Well, I thank you very, very much!
ELIAS: You are quite welcome. I offer my encouragement to you and my continued expression of energy with you.
LIZ: Thank you.
ELIAS: And I anticipate our next meeting. To you, my friend, in tremendous affection, au revoir.
LIZ: Au revoir.
Elias departs at 12:36 PM.
(1) The second phrase of this sentence was originally: ď...and you may be incorporating materials such as clay or wood which has already been created and exists, so to speak, within your reality...Ē
© 2001 Mary Ennis, All Rights Reserved.