Friday, May 11, 2001
ďThe Definition of LoveĒ
Participants: Mary (Michael) and Sherry (Seale).
Elias arrives at 11:13 AM. (Arrival time is 23 seconds.)
ELIAS: Good morning!
SHERRY: Good morning.
ELIAS: (Chuckling) We meet again!
SHERRY: Pardon me?
ELIAS: We meet again!
SHERRY: Oh, yes! As always, I have questions. But at least I sat down and thought about them for a little bit, so theyíre in some kind of order.
ELIAS: Very well. You may proceed.
SHERRY: Okay. I would like to know the sound Ė and I donít have an in-depth knowledge of music Ė or the chorded note of my essence. I think itís a lower sound, rather than a higher sound; thatís my impression. (Pause)
ELIAS: A. (Pause)
SHERRY: Iíll go play it, and see what it is. Now, thatís the note A?
SHERRY: Are there different Aís?
SHERRY: Okay, so which A is this? (Pause)
ELIAS: Second octave.
SHERRY: Second octave?
SHERRY: Oh, thank you! Now, I wanted to ask you, this might sound kind of funny but the last time we talked, I finally defined what it was. Iíve been trying to figure out what Iíve been feeling with you that I couldnít get a handle on. Now I think I have words for it, so I wanted to know why I feel a tenderness or gentleness in your energy for me. What are we to each other?
ELIAS: (Chuckling) I may express to you, my friend, in your terms of association, we have participated in focuses together, and in the interactions, in physical terms, there has been a creation of affection in gentleness, so to speak, in these physical manifestations. I may express to you that this translates also into the expression of interaction that we engage with each other now. This is a physical explanation.
Within essences, many essences intertwine with each other. The physical manifestations are physical projections of what may be termed as non-physical interactions between those essences, and many times essences may be creating similar types of expressions with other essences, choosing to be merging with other essences, accessing certain qualities of other essences, and creating certain types of similar experiences with those essences. As an example, an essence may choose another essence to be merging with, and accessing certain qualities of the other essence that shall be challenging to the first essence.
Now; this may translate in physical manifestations and expressions as manifesting several or many focuses of attention with each other that may express an interaction of conflict, or it may be expressed in a type of challenging that shall be expressed in agitation. But this is a physical translation of the interaction which is occurring between these two essences in non-physical expressions, which may not be expressed quite in the same manner as the translation appears within physical focuses.
Now; in another example, an essence may choose to be interactive with another essence, accessing qualities of them both to be expressing what YOU in physical terms identify as a tenderness. This may be a merging of energies to be creating certain types of experiences and sharing certain energy expressions, and the translation in physical terms may be the creation of several or many focuses of attention together that express affection or gentleness, or as you term it, tenderness in physical manifestations. Are you understanding?
SHERRY: I think so Ė we are merging? Thatís kind of like when you were saying that shaking part, when you said we were co-creating that? (1) Sort of like that?
ELIAS: In a manner of speaking, yes. Although I shall express to you, once again, this term of co-creation is incorrect, for it implies creation in part, and you do not create any expression in part.
SHERRY: Because weíre part of the whole, or we are the whole.
ELIAS: You are the whole, and you create all of the experience. Other essences may create all of the experience also in conjunction with you, but you are not creating a part and they are creating a part. You are both...
SHERRY: Oh, I get it; I see now. Yes, because Iím fully creating my whole part.
ELIAS: Your whole reality.
SHERRY: Yes. So itís not like part of it is being impacted by somebody else. The whole part is mine...
SHERRY: ...and their whole part is theirs.
SHERRY: Yes, oh yes, that little part was not clear. Thank you for clearing that up.
ELIAS: You are welcome.
SHERRY: I remember talking to you about my dog. Sheís transitioned now, as you know. I didnít even think about this Ďcause I was so in the moment of losing her and having to go through that whole experience. My question now is, can I create her to return as a Dal (Dalmatian) if she is so desiring, experiencing joy, playfulness, happiness, and higher levels of communication?
All of a sudden it dawned on me, why am I being sad just because she left then? This could be another experience of creating having her come back again, and then we can have lots of joy instead of so much sadness and learning and all that other junk I was going through at the time.
ELIAS: I am understanding, and I may express to you, yes, you may be creating this action.
SHERRY: Before she went, there was a cat here, and she kept barking at the cat. Iím wondering if she knew that the cat was going to try to adopt me or whatever when she was not here anymore. Maybe that was her way of letting me know that she was desiring of that, and for the cat not to think that it was going to take me over as its owner.
ELIAS: (Chuckling) I may express to you an acknowledgment in your allowance of yourself to be translating and objectively recognizing and understanding the action which has occurred and the communication that has occurred. You are correct.
SHERRY: Oh, cool! But now the trouble is I donít know the date. She left on April 21, and I donít remember how long puppies have to come back. I donít want to be worried about missing her. (Laughs) You know what I mean? I want to be able to recognize her. So I was thinking about how many months have to go by before the puppy is born and when they get to be six weeks old, and then I can start looking for her.
ELIAS: Ha ha ha ha! Let me express to you, my friend, you are creating a thought process which is quite exacting and in actuality quite limiting, for you are attempting to identify time frameworks to reinforce your method to be acquiring of another creature. Let me express to you, this is not the point. You shall draw to yourself and create the creature in the time framework in which you are allowing yourself a readiness to accept that. (Pause)
SHERRY: Oh, you mean I donít have to believe in the time thing?
SHERRY: She could come tomorrow.
SHERRY: Oh, my. (Elias chuckles) Well, I called to see if there were any Dals available, any puppies or dogs or whatever ... oh, so she might not come back as a little teeny puppy, then? Unless thatís what I ask her, and she agrees.
ELIAS: If this is what you create. Be remembering, my friend, creatures, although they are consciousness Ė for ALL is consciousness Ė creatures are not essence consciousness, for they are created by essences. They are created by you.
Your desire expresses, in a manner of speaking, a message within consciousness, and that message is projected to links of consciousness and those links of consciousness move in the configuration of your desire to be creating the expression that you want. YOU manipulate this movement; therefore, you are directing of the creation. It requires, in actuality, no agreement in the terms that you are expressing, for there is always agreement within consciousness.
SHERRY: But if I created her ... I mean sheís energy, right? Well, but once sheís created, sheís still created. I mean, when she left, when she transitioned, isnít she still the same energy?
SHERRY: So sheíll stay the same energy. Thatís what Iím asking, that her links of consciousness come back, right?
SHERRY: Have I been with her before?
SHERRY: Thatís why she feels so familiar, and see, thatís the part that freaks me. I donít even know why. I donít have a method of knowing how to know itís her. You know what I mean?
ELIAS: I am understanding.
SHERRY: It just comes, and thatís the part thatís scary to me in a way. I donít know how I know what I know Ė I just know it or I donít know it, and I donít always know it at the time. Like when those two deer came, I thought, ďWow, this is weird. Why are these two deer here? I have traveled this road how many times and never seen any, and thereís two deer.Ē And when the one went back across the road, I got close to it because I knew that there was a message. I couldnít translate it, and it wasnít until when my dog transitioned and I couldnít carry her that I figured it out, that the deer was showing me to take her to that side, to that spot, and that was the perfect spot. But I didnít know that in the moment.
ELIAS: It matters not. You do offer yourself the communication, and it matters not that you translate the communication in that particular moment. This is what I have expressed to you. You SHALL offer yourself the recognition of the communication in the time framework in which you allow yourself the readiness. When you are ready to objectively engage an action, an understanding, you shall.
SHERRY: So, is there a way of speeding this up? (Elias laughs) Well, you know, so it can happen in the moment?
ELIAS: It shall happen in the moment, my friend! (Chuckling)
SHERRY: (Laughs) It took me two days later, or a day later, before I could figure out what the deer were really doing. I knew it was a message, but I couldnít put it into objective words.
ELIAS: And this is what I am expressing to you. It matters not, for you did.
SHERRY: Oh, brother. So the deer knew I was thanking it when it came the next day or the day after, and it just stood there? Subjectively it was understanding that I was thanking it for the help? Thatís what I was feeling from it, and such tenderness, too.
SHERRY: Amazing, simply amazing! (Elias laughs) It is. Whoíd believe anything I have to say about that? But I wrote about this. I didnít like what I created. I knew that there was dread about transitioning with Emmy, but I couldnít figure out why because I couldnít get the answers I needed. I didnít even think of asking you Ė maybe I should have asked you. But with her getting stuck by that big yucky needle how many times ... so I wrote this article, and I just felt like it was really important for me to write it from her point of view, in her language. So, is it highly probable that they will publish that, like Iím thinking they will be?
ELIAS: Once again, I shall express to you this is dependent upon you and what YOU create, and your allowance of yourself to be trusting your expressions and your ability to create. Other individuals are not creating for you. Your creations are not dependent upon the choices of other individuals. If YOU choose...
SHERRY: I felt like I should write because it would get published, so Iíll go back to thinking like that. Itís like when other people say you wish it to be happening or you hope itís going to be happening. Well no, itís going to happen.
SHERRY: Then thatís bad; the judgment comes back that thatís egotistical, or whatever they say about it.
ELIAS: And this we have spoken of previously, in holding your attention within self and trusting your expressions and your abilities; and as you continue that action and you do not turn your attention outside of yourself and concern yourself with the expressions of other individuals or the judgments of other individuals, what you actually create is an example in action, and individuals shall discontinue their expression of judgment to you.
You receive this type of expression in relation to the aspects of yourself that continue to doubt your own ability. Therefore, you mirror your doubt through the expressions of other individuals. But as you continue to move into the expression of trust, you shall also lessen these expressions that are being offered to you in judgment, for you shall not be creating judgment within yourself.
SHERRY: Okay, that makes sense. But I still get hooked into that. I know I wrote the article, but I was still thinking that they were the ones to decide to publish it. I wasnít thinking that Iím the one thatís manifesting the publishing too Ė but that is my creation.
SHERRY: Thank you for reminding me about that.
I have a question about essence. You said that essence ... maybe I didnít ask this right. But what I was asking, is an essence of mine a dolphin?
ELIAS: Is a focus of attention of your essence a dolphin?
SHERRY: Yes, see, I knew I didnít ask right! (Laughs) Okay.
ELIAS: Ha ha ha ha! Yes.
SHERRY: So thatís my call to swim with them, or why that seems to be a big thing?
ELIAS: Yes. I may express to you also that relatively speaking, this is a recent incorporation of a focus of attention of your essence. For this is, relatively speaking, a new insertion into your physical dimension, that these creatures incorporate essence.
As I have stated previously, creatures that occupy your physical dimension are not essences. Therefore you also do not manifest, in relation to your religious beliefs, concerning incarnations as a creature. Are you understanding?
ELIAS: But these particular expressions, these species of manifestation within your physical dimension, are essences. Therefore, you may incorporate a focus of attention manifest as this species.
SHERRY: Is that why Iím thinking that communication with them is important? Thereís something about that, too. I feel like Iím going to have more understanding when I see them face-to-face or swim with them, that Iíll be able to talk to them in a different way or...
SHERRY: Then is it more efficient for me to go to Costa Rica where there is more gentleness toward animals, and there are more animals?
ELIAS: This is your choice, my friend.
SHERRY: Well, I know, but I mean thatís what it feels like, like if theyíre going to be...
ELIAS: I may express to you to listen to your impressions, and allow yourself to follow those communications.
SHERRY: See, thatís what I mean. I was headed that way, and then things started happening. (Sigh) Most people thought that was a totally bizarre idea on my part. (Elias chuckles) But I know I shouldnít have listened or got triggered outside of myself. Okay, Iíll work on that.
How do my colors impact me, like with the gold for my signature and then indigo my family color? How do I work with that? And I forget, is indigo blue or purple? I was going to look it up in the dictionary.
ELIAS: In actuality, it is a hue of blue. (Pause) What is the identification of your direction in concern of the incorporation of these colors? What do you choose to be enacting in the incorporation of these colors?
SHERRY: What am I choosing to enact? I was just choosing to understand what I am capable of enacting. I donít understand how they work.
ELIAS: Ah! In your terms, they do not work Ė you work them! Ha ha ha ha!
SHERRY: Oh, very funny. Well, how do I work them when I donít even know how they work? I donít know how to work them. You know, like how a dolphin swims, I know that. I donít know what colors can do, or what I can have colors do. And what color is indigo? Is that purple or violet or something like that?
ELIAS: I have expressed to you, my friend, this is a hue of blue.
SHERRY: Blue, okay. (Pause)
ELIAS: This is dependent upon what you choose to be creating, and how you choose to be manipulating the vibrational quality of any particular color.
As to your question of what you may do with these vibrational qualities, I may express to you this is an enormously vast generality of questioning, for you may choose to be manipulating the vibrational quality of color in countless manners. It is dependent upon what you choose and your direction and your exploration of these vibrational qualities. This is an expression of your direction in any particular subject matter. (Pause) These are vibrational qualities of consciousness.
SHERRY: I have this question: when I was taking art, I kept seeing yellow Ė a gold color, a bright yellow center Ė and then blue around it. It was like, oh no, these are not my colors. Around that, there were parts of animals. I only got legs or what looked like a tail or fin or something. I said, if this color means something ... because I kept seeing these lights of that color. So I just drew what it felt like, tried to translate the feeling into the design and thatís what I got, and it freaked me out and I quit drawing.
ELIAS: Now; what is significant in this experience is that you allow yourself to be paying attention to your own communications.
(Emphatically and slowly) This is what I have been encouraging you to be engaging, to be paying attention to the communications that you are expressing to yourself, and this shall allow you a clearer objective understanding of what you are creating. In this experience, you are paying attention to the imagery, and you move your attention from the imagery into the analyzation of thought process in relation to the imagery, and you are NOT paying attention to the communication that you are offering to yourself.
Now; you express to myself that you created this translation of imagery into a physical expression, a drawing, and you have disturbed yourself with this creation.
Now; pay attention to that emotional expression and the communication which is being offered. Allow yourself to pay attention to THAT aspect of your creation, and explore what you are expressing to yourself in your emotional communication and what has influenced that communication, for this shall express to you, objectively, the identification of what you are actually creating. (Pause) The imagery is not what holds the message.
SHERRY: Itís the feeling?
ELIAS: Yes. The communication holds the message. The imagery is a reflection of the communication, but the imagery is quite changeable. Therefore, the imagery itself is not what holds the significance. The communication and its affectingness in relation to your perception is what holds importance. (Pause)
SHERRY: So when I was accessing ... when things donít come clearly to me, then it gets me freaked.
ELIAS: And this is what I am expressing to you to be paying attention to. You are offering yourself a communication. That communication is the link between the objective and the subjective awarenesses. The subjective awareness is identifying what you are creating precisely in the moment, and it offers a communication to the objective awareness in the form of emotion; and as you turn your attention and allow yourself to be noticing and paying attention to the emotional communication and exploring the identification of that emotion and what associations you are expressing in relation to that emotion, you shall offer yourself a clearer objective recognition and identification of what you are creating in the moment.
Be remembering, the message is not within the imagery. The message is in the communication. Your thoughts are not your communication. Your thoughts are the translating aspect that you engage in relation to different forms of communication that you offer to yourself. (Pause)
SHERRY: Well, I donít suppose you could give me an example of how it works, like with this picture? To me, itís just words; they donít mean anything to me. I donít know how I do that, but itís like what you just said. I donít have any reference for it.
ELIAS: For you have not allowed yourself to move into the actual experience of recognizing that your emotions are not a reaction, they are a communication. There is a message which is being offered to you in the creation of emotion, and as you allow yourself to assimilate that information and begin paying attention to these communications AS communications, you shall allow yourself to experience what I am expressing to you.
But to this point, you have not actually engaged the experience of what I am expressing to you. You continue to view your emotional expression as a reaction to objective imagery or events or actions. It is the reverse. You create the imagery in relation to the emotion, not vice versa.
SHERRY: A quick question is, what is my connection with Joan of Arc? Is this a focus, or no? (Pause)
ELIAS: You are not that individual, but you do participate in that time framework, and you do participate with that individual and in that focus express an admiration for that individual.
SHERRY: I do that now, too. (Pause) Question: what is the definition of love? Itís an action, but can you give me an example? (Pause)
ELIAS: A definition of love which may be expressed in a manner that you may objectively associate with is an action of knowing and appreciation.
SHERRY: Wait, say that again Ė I missed out. You are breaking up. An action of knowing...
ELIAS: ...and appreciation, a genuine expression of appreciation in recognition of a genuine KNOWING of any expression of consciousness. (Pause)
SHERRY: Is that like when I recognized George, or is that not ... or knew I had been with Emmy?
ELIAS: Knowing in itself is not what may be identified as the actual action of love. Knowing and expressing the appreciation in conjunction with the knowing is the action of love. This translates within your physical expressions and what is familiar to you in your definitions as a feeling, so to speak. But in actuality, love is not a feeling.
SHERRY: Right. I remember reading that. Itís how I took care of Emmy, being concerned about her language or that her needs were being communicated to me and respecting those?
ELIAS: No. This is your definition. This is your physical translation, but this is not the expression of the truth which is identified as love.
SHERRY: That is what Iím trying to get. How do I understand that where I am, in this moment?
ELIAS: It is precisely what I have expressed to you, knowing AND appreciation.
I may express to you, my friend, you shall allow yourself an objective recognition of this action as you continue to move in the creation of this shift in consciousness. But I shall also express to you that this type of an expression, the allowance of this expression within your physical dimension of this truth, is to this point quite unfamiliar.
SHERRY: Well, I got that. Thatís why I was trying to see if I could create it here. (Sigh) I mean, kind of be the example.
ELIAS: You do create your translation in association with the design of your physical dimension. But as I have stated, it is a translation.
SHERRY: My other question is, based on what you said about emotions are not a reaction, Iím trying to understand why George is so angry with me, or whatís happening thatís creating such anger?
ELIAS: Turn your attention to self.
SHERRY: Wait, say that again. Something broke up.
ELIAS: (Very deliberately) Turn your attention to self.
SHERRY: Heís using me to turn to himself?
ELIAS: NO. I am expressing to YOU, turn your attention to self. It matters not what the other individual is creating, for it is created in your reality by you, and it is a reflection of you. Therefore, turn your attention to you.
SHERRY: So, Iím really mad at myself? (Pause) Why would I be wanting so much anger?
ELIAS: Interesting question!
SHERRY: I donít, though.
ELIAS: (Gently) But you are creating it.
SHERRY: But something has changed, because heís getting angrier.
ELIAS: And this may be your beginning point in turning your attention to you, listening to your communication in emotion, and allowing yourself to move within you to identify what you are creating, what you are expressing.
SHERRY: Iím expressing frustration with him, not being able to see and judging me.
ELIAS: And therefore you create the expression of anger in relation to your projection of him, for YOU are expressing anger.
Be remembering, anger is the extreme of frustration. In the expression of frustration, you offer yourself choice. You may be...
SHERRY: Well, I thought I was doing that, though!
ELIAS: You may be objectively incorporating confusion as to your choices, but you recognize that you do hold choices. Anger is the extreme of frustration, in which you cease to recognize that you hold choice.
SHERRY: I understand that, but I didnít understand that it was about me. (Laughs) I still havenít gotten this down! Because I wasnít feeling angry ... I mean, I know when Iím feeling angry, and I havenít felt like that.
ELIAS: It matters not.
SHERRY: How is it being created if Iím not feeling it?
ELIAS: You need not necessarily be offering yourself an emotional communication of anger. You are creating a reflection in physical expression.
SHERRY: So I can view how frustrated I am?
ELIAS: As you turn your attention to YOU, you may begin to allow yourself to recognize these expressions that you are creating within you, and I may express to you, my friend, you are in actuality incorrect. For you ARE expressing emotional communications Ė you are merely not paying attention to them.
SHERRY: Can you give me an example of this so I can see it, so I can understand this? Obviously Iím not, or I wouldnít be creating it!
ELIAS: What I shall express to you is that you have already offered yourself an example in this very situation with this other individual.
SHERRY: You mean because Iím frustrated at his choices and thatís what I get mirrored back to me?
SHERRY: Okay. (Pause) So I could be not frustrated, and everything would go differently?
SHERRY: Is that what you are saying?
ELIAS: Yes. I shall challenge you to practice. (25-second pause) Allow yourself to relax and to assimilate, and then you may begin practicing.
SHERRY: Okay, Iím supposed to relax and assimilate?
ELIAS: Yes, and in this, you may begin practicing paying attention, and this shall be altering of your perception.
SHERRY: Okay! I will work on that.
ELIAS: Very well.
SHERRY: But our time is up, so Iíd better go. (Elias chuckles) Thank you very much. I hear it, and I think Iím getting it Ė and I am Ė but thereís other aspects that I havenít gotten, and then I get that clarity.
ELIAS: I am understanding.
SHERRY: I really appreciate your patience while Iím getting there.
ELIAS: I offer to you much encouragement, my friend, as always and as always tremendous affection, and we shall speak again. To you this morning, au revoir.
Elias departs at 12:14 PM.
© 2001 Mary Ennis, All Rights Reserved.