Sunday, September 09, 2001
ďMyriad Directions of Expression in Relation to IntentĒ
ďBooks and ChaptersĒ
Participants: Mary (Michael), Margot (Giselle) and Howard (Bosht).
Elias arrives at 1:25 PM. (Arrival time is 25 seconds.)
ELIAS: Good day!
MARGOT: Good day, Elias! (Elias chuckles) Iíve been having a nice time here with Mary, listening to all of her experiences. Sheís always got such good ones to talk about! (Elias laughs) So, are you ready to start?
ELIAS: You may proceed.
MARGOT: Thank you. Iíve got lots of stuff here, and itís going to be interesting to see just how much of it I actually get to. But at any rate, I want to first of all just wind up a couple or three things in my last session and in a session that I had several years ago.
In the last session, you confirmed that Lowell Thomas is the focus of Patel. I was trying to figure out my relationship to Lowell in a focus, and I believe that my maiden name was Fran Ryan before I married Lowell.
MARGOT: Thank you. I was quite sure of that when we talked before, but I always think I need to think more on it! (Laughs with Elias)
Anyway, then in a session I had with you not too long after I met you, I asked you about a sinus problem that I had kind of actually been born with Ė at least thatís what Iíve been told Ė and you got into telling me about the action of sneezing. I was so involved, I guess, with your response to that that I completely overlooked it until I happened to be going through that session. You said then, ďTherefore you have entered into this physical focus with a tremendous fear of life.Ē Iíve been so curious about that, since I overlooked it, why ... it was such a surprise to hear that and to read that again. Why did I come in, why did I manifest with so much fear?
ELIAS: Let me express to you, Giselle, in actuality this expression within your physical dimension and your automatic associations and your direction of movement in this particular focus is quite rational, so to speak, in your terms. For, allow yourself the recognition of your exploration in this focus. What is the nature of your fascination?
MARGOT: Youíre asking me that, now?
MARGOT: Well, part of my intent ... one of the things that drive me the most is my pursuit of truth, although Iíve sort of learned not to call it truth. I donít know whether thatís what youíre wanting me to understand, or...
ELIAS: No. We have discussed many times your direction of exploration.
Now; you may incorporate your translation of your exploration in this focus as a pursuit of truth, so to speak, but your fascination is seated in the subject matter of death.
MARGOT: Oh yes, true! True.
ELIAS: Now; in this, as you explore the choice and the action and the movement or manifestation of this particular choice of death or disengagement from physical focus, you also automatically enter this particular focus with an aversion and an expression of fear concerning life, for your fascination lies in the exploration of what you create in relation to what you define, physically, as the opposite of life. Although, it is not the opposite of life Ė this is your definition of it Ė and therefore in association with your beliefs, life itself becomes suspect, and as becoming suspect, you generate fear.
MARGOT: I understand. Thank you very much!
ELIAS: You are quite welcome.
MARGOT: About that same time, in 1997, I told you of a dream that Iíd had in which I was going to give birth to a child, and I had decided to name the child Ben, which seemed to be a very important part of that dream. At that time, I didnít know Ben/Albert, but now I do, and so I have wondered since that time, since I met him, if that could have been a connection to that dream that I had.
MARGOT: Thatís what I thought! And this brings up something else, too, that I hadnít pursued before with you and that would be the time frame. I kind of had it in my head that this was more of an alternate focus of mine because it felt present day to me. Now itís obviously not present time frame that I dreamed of. Could you enlighten me just a little bit? It seems to me that the focus that gave birth to that child would not be alive today.
ELIAS: Let me express to you, you have presented yourself with imagery that is partially literal and partially symbolic. For in this, you do offer to yourself literal information concerning connection, in your terms, with a physically focused individual. You offer yourself literal information concerning your affection, your interaction, and identifying the individual of the focus of Albert.
But you also have created this imagery in symbology. This is the aspect of the dream imagery that appears to you as though it were an alternate self and reality. This is the imagery within the dream state that you are attempting to literally translate, which is in actuality the symbology.
MARGOT: I see ... I sort of see!
ELIAS: The symbology is offered to you to emphasize the intensity and the strength of your gravity to this individual and your appreciation of this individual, recognizing connection within consciousness and within essence. Therefore, you create imagery that suggests the bond and relationship of mother and child.
MARGOT: Right. But in a literal sense this is actually the case, that he is my son in another focus.
MARGOT: Okay! I understand what youíre saying, and I thank you for that. I felt sure that I was right about that.
ELIAS: This is the reason that you have offered this particular imagery to yourself, to be expressing the communication of that relationship and the association in this focus of similarity in association with this individual.
MARGOT: Very good, thank you.
Now Iíd like to go back to the intent that weíve talked about before, because we did identify that and that helped me understand many more things in my life that I hadnít understood before. In going back to look for other parts of my intent, because I think thereís other parts there, I spent a lot of time going back over my childhood; in fact, I didnít hardly get out of my childhood because I got so involved with what popped out at me.
What popped out didnít have much to do with intent, but I recognized again that as a child and as a growing-up child I had a great interest in art and especially oils, painting in oils. I just hungered for it, and I felt very, very strongly about it for a space of time. Was my great interest in it at that time and my sense of loss because it didnít work out for me to get very involved with art in the family in which I lived, was it because I was under the influence of a focus in which I do paint? (Pause)
ELIAS: Let me express to you, Giselle, you do incorporate a focus in which you engage this action of painting. But let me also identify that in THIS focus this is not what you have created in association with your intent.
MARGOT: Oh yes, I do understand that...
ELIAS: No, no, no, no, no Ė allow me to continue.
ELIAS: In this, I am not expressing that you have not chosen to be manifesting that type of action within this focus. This is quite obvious to yourself as well. What I am expressing to you is that you have not presented this particular direction in your focus in relation to a bleed-through of energy of another focus. You have in actuality quite purposefully and specifically created that experience in alignment with your intent and quite in alignment with your curiosity, once again, concerning death.
Now; in this, you offer to yourself in this questioning presently a wonderful example of the myriad of directions of expressions that any individual explores in relation to what they perceive to be the one subject matter of their intent, which in actuality is quite fascinating in relation to your physical dimension. For individuals create an automatic association with the term ďintentĒ as they offer themselves objective information through this forum, and their association or definition of the movement of their individual intents is in actuality quite narrow.
Within your reality, once again, you are such diverse manifestations in this physical dimension and you have created such a wondrous field of explorations for yourselves in this physical dimension, it is exceedingly creative and fertile for your expressions of creativity and exploration.
Now; within the direction of fascination that you have incorporated throughout the entirety of your focus with the subject matter of death, there are countless directions that you may be exploring in relation to all that may be associated with this subject matter.
You have quite creatively chosen in that time framework to present yourself, quite in alignment with the design of this physical dimension incorporating sexuality and emotion Ė the physical and the communication Ė a wondrous experience to allow yourself to create a tremendous association with a particular movement: in a manner of speaking, a relationship with yourself and an expression of creativity, allowing yourself to experience the intensity of affection and allowing yourself an intensity of appreciation and knowing Ė which, as we have defined, is the actual definition of the truth of love Ė in association with this particular expression of creativity.
Now; I shall express to you that you have allowed yourself to draw upon a slight aspect of energy from that other focus as a painter merely to emphasize within your experience in THIS focus what may be identified as the absorption of self with this expression and the tremendous drive and appreciation that is associated with this expression of creativity.
Now; the manner in which this exploration offered you information and an experience in association with death is that you also created a choice to deny yourself movement into that expression of creativity, and in denying yourself that experience, you also provided yourself with an avenue to be experiencing a grief in association with an unfulfilled expression, an unrealized movement within a physical manifestation. This is purposeful, for this offers you an experience which emphasizes the associations that are expressed in physical response by individuals in the incorporation of their beliefs in association with death.
MARGOT: Yes, I see that. Well, thank you very much! (Laughs)
ELIAS: You are quite welcome!
MARGOT: I would have to say, though, now Ė and I would have to ask you if Iíve really gotten the gist of it Ė it seems to me that the part of my intent or the whole of my intent to study death is kind of like the whole intent, because there are so many things that wrap into it that I never thought had anything to do with death.
ELIAS: You are correct Ė but they do.
MARGOT: Yes, I understand that. I see that now, and I can also think back on little things in my entire life I had mourned that I didnít do. That is very, very good.
ELIAS: Which allows you a clearer understanding and association with the expressions not merely of yourself but of other individuals in what they create and experience in association with this subject matter, and this, my friend, is the genuine definition and expression of compassion: understanding.
MARGOT: Yes, I understand that.
When I was in that focus, did it have anything to do with the Delft school of art?
MARGOT: That was the only thing that came to me. Now, the other day I made a connection, I believe, with a French painter by the name of Paul Emile Chabas. Years ago I was attracted to a painting of his and could never figure out why, but I had a copy of it and I hauled it around with me for a while. Suddenly the other day I found out more about him, and I decided I would ask you if I had any connection to him at all.
ELIAS: As an admirer, yes; as an aspiring painter and an admirer of this painter, yes Ė not as the painter himself.
MARGOT: Would you be saying then that the focus that I had as a painter would have been in the same time frame that he lived and worked?
MARGOT: Okay! Thatís helpful, thank you very much. I would like also to find out from you whether I have a personal connection to Esther of the Old Testament, the one who was a ward of Mordecai and was queen.
ELIAS: Observing essence.
MARGOT: Observing essence, that makes gobs of sense to me! Thank you so much for that one!
ELIAS: You are quite welcome.
MARGOT: Now, I would like to go on into these books, the religious book and the shift book that we talk so much about. In the last few weeks thereís been a great deal of discussion about it, which Iím sure youíre aware of, and I would like to find out a few things about them myself. But first I would like to find out, or would like to clarify again, that in speaking of the shift book, this current focus is the last chapter, or would the future focus in The City be the last chapter?
ELIAS: No. This present time framework...
MARGOT: Is the last chapter.
MARGOT: Would the listing that I now have of these six chapters be Egyptian, Medieval Scotland, Medieval British Isles, French Revolution, and the other two I just asked you about, now and in the future?
MARGOT: Quite some time ago you also confirmed a focus that I hold in ancient Egypt, in which my father in this focus is my father in that focus and his name is Tuma. You confirmed that for me. Iíd like to find out if my name in that focus is Rembee. I heard myself called that in a dream quite some time ago.
MARGOT: I also feel that my dadís essence name is also Tuma. Would that be so?
ELIAS: Include ďTĒ at ending of word.
MARGOT: I was pretty close on that! Now, in trying to identify a time frame ... oh, first Iíll ask you, is that focus that I have been trying to find out about for quite a few years, is that the last chapter, the one that weíre trying to find?
ELIAS: In relation to?
MARGOT: The shift book.
ELIAS: The final chapter is this present.
MARGOT: No, I mean the chapter, the Egyptian one, is that the same time frame as this one that Iím referring to in which my name is Rembee? (Pause)
MARGOT: Is this one in which my name was Rembee, is this earlier than the Egyptian chapter focus?
MARGOT: Okay, that was the sense that I had as well. In fact it feels ... I canít name a time frame for it Ė I donít know that much about the history Ė but it feels very ancient to me.
ELIAS: You are correct.
MARGOT: You wouldnít like to offer a time frame, would you? (Pause)
ELIAS: Sixth century BC.
MARGOT: Sixth century BC Ė thatís very helpful. Thank you, Elias! Now, Iíve been told that I was a very early Egyptian queen. Iíve researched it, and I didnít get much of a sense of anything about it. First of all, Iíd like to know if thatís so. (Pause)
MARGOT: Is that also a very early one?
MARGOT: Yes, thatís what I thought. I did get a sense of belonging to ... perhaps a good way to state it would be a sense of kinship to a time frame which would be during the reign of Sety in about the 13th century BC.
MARGOT: Thatís right?
MARGOT: Okay, Iíll see what I can do with that. Now, hereís something else. During the reign of Ramses the Second, I am the wife of Bosht, who is the architect in charge of the building of pyramids Ė is that so?
MARGOT: Would that be the chapter focus?
MARGOT: Okay, thereís more work to do on that. Now, in the British Isles medieval chapter of the shift book, would I be correct in my thinking that the King Arthur epic is the one that you were referring to as being that chapter? (Pause)
MARGOT: Thank you; I felt sure that had to be. So that puts it in about a 500 AD time frame?
MARGOT: Is my focus by any chance Uther Pendragon, who was the father of Arthur?
MARGOT: Okay, Iíll work on that one some more. Oh, do I have a focus in that time frame as a Celtic priestess who was raped by a Roman soldier?
MARGOT: Would that soldier he identified in this time frame as Robert B?
MARGOT: Since that would be about that 500 AD time frame, is that a focus that I have in the chapter focus of the shift book?
ELIAS: No. This is slightly overlapping.
MARGOT: Now in the religious book, youíve indicated that there are more chapters to this book than the six that we know about, and Iím going to run through that list and Iíd like you to confirm that for me. I have Judea, the inception of the Catholic Church, the Crusades, Inquisition, Reformation, World War II.
ELIAS: Correct, thus far.
MARGOT: Weíve placed a lot of emphasis, of course, on the Nazi part of World War II. What about the war on the other side of the world that was part of World War II, with the Japanese? Is that a part of what weíre trying to locate in that chapter?
ELIAS: Clarify. I have offered identifications of individuals that incorporate focuses in that participation of your Second World War recently.
MARGOT: Oh, you say that we do have Japanese focuses or focuses in that part of the world?
ELIAS: Some individuals. Some of you are choosing to be manifest in relation to the European aspect of that event; some of you have chosen to be manifest in relation to the Orient aspect of that event.
MARGOT: That makes more sense then, I think! (Laughs)
You confirmed the focus I have of Anna Marie Kempf as being part of World War II in Europe. Iíd like to also find out about some focuses that I think I am in that same time framework and place, only as being a Jew. Am I a male who owns a clock and watch store in, I believe, Berlin or maybe Frankfurt? Is that true? (Pause)
ELIAS: No. You are creating an association with familiarities. I may express to you that you do incorporate a focus as a Hebrew individual in the location of Bonn and that you do engage the action of work, so to speak, within a shop that creates clocks, but not as the owner, so to speak, of the shop.
MARGOT: That was a projection that I did, and so that clarifies something that I didnít feel like I quite hit in on. I felt in that projection that the time frame would be about 1938 or 1939, something like that, and that he had great fear that it was going to be learned that he had a Jewish grandmother. He seems to be himself not fully of that faith or that culture.
MARGOT: Now, I was told quite some time ago that I died in childbirth in Poland during the Nazi occupation. I was quite young. Is that so? (Pause)
MARGOT: Is there anything like that I did, that was picked up on?
ELIAS: No, this is an association with your daughter presently.
MARGOT: My, do you know how many daughters I have to think through now? (Laughs, and Elias laughs) But I will! Was my name by any chance Iris Mueller, or is that someone elseís name? (Pause)
MARGOT: Okay, Iíll just kind of kill that thread!
Now in the religious book, in a session that I had with you several months ago, I identified to you that it was about the time of the Wars of the Roses, about 1350, and I felt at the time that you confirmed this was part of the religious book. (1) But it isnít stacking up like that, and I decided Iíd better ask you again. Is that just a focus of mine that isnít in any of the books ... of those two books, letís say?
ELIAS: Yes, you are correct.
MARGOT: So itís not a religious book chapter focus.
Do I have a focus Ė now this would be in the Judea chapter Ė do I have a focus as Ayn or Ann who was the sister of Mary? (Pause)
MARGOT: Am I in the family group in any way, that I would get that idea?
ELIAS: No. This once again is an association that you are translating in relation to another individual which is manifest within the same time framework and holds a knowing objectively of this individual.
MARGOT: In thinking about the other chapters that we havenít identified in the religious book, Iíve thought a lot about this. It seems to me if I look at it from the religious standpoint, the first chapter Ė or perhaps not the first, but as I think of it it would be the first Ė it would be the time when we first began to place power outside of ourselves and we worshipped gods of nature and things like that. Is that a chapter in there?
ELIAS: Yes, this is a chapter. (Smiles)
MARGOT: Would the matriarchal/patriarchal wars that took place at one point, would that be part of a chapter of that book?
MARGOT: Would events surrounding the teachings of Lao Tse, Confucius, and Buddha be a chapter in that book?
MARGOT: How about the events surrounding the teachings of Zoroaster and Abraham?
ELIAS: In actuality this would be associated with a different chapter, but yes. It is not identified as, in your terms, the heading of that particular chapter focus.
As you designate your identifications of chapter focuses, you are assigning to them headings such as your identification of a Judea focus or the Second World War focus, or an association with the shift in consciousness, [or] the Egyptian focus, or the focus of The City futurely. In actuality they do not necessarily incorporate headings, but you are assigning headings to them; and in keeping with a lack of distortion, I am in compliance with your choice to be assigning headings, identifying that the assignment of this heading of this individual would not be accurate, but yes that there is this involvement in that chapter.
MARGOT: I understand, and thank you for that. Would another chapter possibly be the split that occurred that created Judaism and Islam?
ELIAS: Yes, and this is the association with what you have previously inquired.
MARGOT: Would there also be a chapter ... Iím not trying to suggest a name for it, but it would have to do with American religious beliefs that began when the country was established. There would be things like the Congregationalists and the LDS church.
ELIAS: Yes. This is in association with Luther.
MARGOT: Oh, Luther! Yes, right.
I think that I have two focuses at least in ancient India that Iíd like to ask you about, because it seems to me that they may possibly be part of the religious book. One would be northern India, very ancient times, I am born into a very poor family who give me to a group of monks to raise.
MARGOT: And also in India, but in a much later time frame, I sense I am a monk in a monastery and I compose hymns that evidently, I feel, are the forerunners of Franciscan chants.
ELIAS: You are correct, although this is not an identification of a chapter focus.
MARGOT: So it wouldnít be that either one of those would be in there as a chapter focus?
MARGOT: I think that weíve about ... I didnít keep track of the time. Howard, do you have anything?
HOWARD: Is Margot the maiden in the lake on [the Chabas painting of] ďSeptember MornĒ?
HOWARD: Was I a student of Lao Tse whose name was Owli, O-W-L-I?
HOWARD: Thatís all I have. (Laughing)
MARGOT: I canít believe thatís ALL heís got! (Elias laughs)
HOWARD: Was her name Maurice Chabas, the brother of Paul?
ELIAS: (Laughing) No.
HOWARD: Oh! Well, all right! (Laughing) Well, weíre gonna let Bobbi work on this one!
HOWARD: My thought was Paul, itís like a Monet or a Monat, thatís what I came up with.
HOWARD: All right, Iím through! (Both Howard and Margot laugh with Elias)
MARGOT: Thereís one thing that I skipped over before because I didnít know how I was going to come out on time. Iíve gained great inspiration from four poets in my life that Iím very fond of, and Iíd like to ask you if I hold any connection to any of them. The first one would be Edgar A. Guest.
MARGOT: How about Harriet Beecher Stowe?
ELIAS: I may express to you, my friend...
MARGOT: Iím guessing!
ELIAS: I am aware.
MARGOT: No, itís not actually a guess; itís the way I feel about them.
ELIAS: I am aware! And I may express to you, in your terms and what you are associating in the term of ďconnectionĒ I may express to you ďnoĒ with each of these individuals.
But I may also offer to you an explanation, that you express this experience of affection in association with these individuals in relation to a particular flow of energy which is expressed by those essences: the allowance of a flow of energy in what may be identified as smoothness within physical manifestation, not necessarily in the actual focus of each of the individuals but in their allowance of their flow of their intent; and the reason that you associate strongly with these particular focuses is your recognition of your own flow of energy in association with YOUR intent in this focus, for you create a very similar type of flow of energy in relation to your intent.
This is not to say that you may not create conflict and turmoil within the movements of your focus and your physical manifestations, but in relation to your actual intent you do create a smoothness of movement in your exploration of your intent, and you quite creatively incorporate an exploration that moves easily into many different experiences that offer you a great understanding of aspects of your physical reality in relation to your intent. Are you understanding?
MARGOT: Yes, I am. I can see that when we observe our own flow, itís somebody else that we pick up on, and itís like a mirror.
ELIAS: Correct, and you magnate to those similar expressions of energy for you recognize that within self.
MARGOT: Would that be the case with my love for Burns, Robert Burns?
MARGOT: And would it also be the same for T.S. Eliot?
MARGOT: Thatís very helpful! Now I will understand when I pick up on my own flow again, which gets back to what I have come to regard as the theme of my intent. I drew this conclusion after I had identified several focuses of mine: I decided that the theme of my intent is something like ďcomplete dedication to a cause Iíve embraced.Ē
MARGOT: Is there a better way to express that?
ELIAS: I may express to you that you have offered this quite well! (Smiles)
MARGOT: Oh, thank you very much! (Howard laughs) I think Howard has something more.
HOWARD: Well, actually ... yes, I do! Itís a mutual admiration society that we have here. You know, Giselle and I bounce off each other and we share a lot. One of the characters that we adore Ė I adore Ė is Paul Gauguin, and it just occurred to me that she might be him.
ELIAS: No. This is another example in similar manner to the expression of energy of the writers.
MARGOT: Interesting! Thatís really going to be something to watch out for, because the idea occurs to me that itís probably easy to confuse the theme of the intent with the flow of somebody else.
MARGOT: Yes, I can see that.
ELIAS: This be the reason that I continue to be encouraging of you all to be familiarizing yourselves with your energy, which allows you a clearer viewing in identification of manifestations that may be focuses of your essence and those focuses which you may hold strong attraction to and appreciation of, but for other reasons.
MARGOT: I see. That makes an awful lot of sense.
There was one other area I was going to ask you about. At one point in my life I did a lot of family history. I wrote about it; I wrote a great deal about it. In the course of all the research I did, I was attracted to two grandmothers of mine; maybe the answer will be the same for them. I liked their flow. I felt it. Iíd like to ask you about each of them. One is an Irish woman, she was a maternal great-grandmother, and her name was Barbara Allen Baney.
ELIAS: This individual you experience a draw to for there is similarity in your manifestations. As I have stated previously within this forum, you choose as an entering essence within any particular manifestation to be aligning with or assuming particular heritage in preferences to certain manifestations that you allow yourselves to align with.
In this, you incorporate a recognition of a preference in association with that particular physical manifestation of that focus. There are similarities of expressions that have been created in the experiences of that focus and those which you choose in your focus.
MARGOT: Yes, I see that. Would that be the same, or I assume thatís the same, for a paternal English grandmother who was Elizabeth Mears?
ELIAS: Partially, and partially you gravitate to that individual in exploration of differences.
MARGOT: All right, thatís helpful, too. I understand a lot more about that now. Okay, Elias! Iím going to let you go!
ELIAS: Very well, my friends. As always, I express to you enjoyment in our interaction and discussion together, and anticipate our next meeting.
MARGOT: And we feel the same.
ELIAS: I also offer to you both great affection. Be encouraged in your continuation of your adventure!
MARGOT: Thank you!
ELIAS: To you both this day, au revoir.
MARGOT: Au revoir.
HOWARD: Thank you.
Elias departs at 2:29 PM.
Digests: find out more about chapter focuses.
© 2001 Mary Ennis, All Rights Reserved.