Saturday, October 21, 2000
“Dismantling the Shrine of Reverence”
“Chapter Focuses/World Views”
“Whining and Dining”
Participants: Mary (Michael), Carter (Cynthia), and a new player, Sharon (Camdon). This is the first of six sessions held in Alabama.
Elias arrives at 2:20 p.m. (Arrival time is 25 seconds.)
ELIAS: Good afternoon! (Grinning)
CARTER: Good afternoon to you, Elias.
ELIAS: (Chuckling) Welcome!
ELIAS: (Chuckling) And how shall we proceed this day?
CARTER: Elias, I have a few questions on chapter focuses.
ELIAS: Very well.
CARTER: I was speaking with Muriel recently in reference to a session she had. We were talking about chapter focuses, and using the imagery of chapter focuses falling within a particular book, and she used the terminology, for instance, “the Elias book” for the book which these particular focuses are participating in. She also said she understood that there were six chapters in this particular book, and that another one had been identified as the period during the French Revolution. (This has also been termed “the shift book.”)
CARTER: And I was reflecting on it, or working towards identifying the other times periods and geographic areas, and I was curious about my connections. Tyl refers to “the Judea period” during the time of the Herods, and I wondered if this was a chapter in the book.
ELIAS: In relation to this particular movement of chapter focuses, no. This would be related to a different movement of chapter focuses, in actuality.
CARTER: Alright. Caroll suggested that there was a future chapter, and I was wondering, if so, if perhaps that would be within the city.
ELIAS: You are correct.
CARTER: I also wondered if a chapter might be involved during the Ottoman Empire, during its expansion; during the period of Suleiman the Magnificent, when he was a sultan. (Pause)
CARTER: And then the last one, which was suggested also by Caroll, is possibly during the Egyptian period, maybe during the time of the construction of either the Sphinx or some of the great pyramids.
ELIAS: Not within a focus which manipulates the attention in the direction of construction of these structures. But yes, there is one chapter focus in relation to this movement that is within that time framework, but the individuals that participate in that chapter focus are not focusing their attention upon the construction of these structures.
CARTER: They just happen to coincide.
ELIAS: Correct. I may also offer to you the identification of another chapter focus which may be recognized within a time framework that you identify in relation to medieval times, within that which you recognize now as the British Isles, and within that focus, there are many individuals participating surrounding the interaction and directions of what may be termed within that time framework as a wizard.
You shall notice within these chapter focuses that there are similarities in the movements of the individuals, the direction.
Now; you may look to this one focus which is occurring within the physical location of France, within the revolution, and express to yourself confusion that it may not necessarily appear to move in relation to the direction of the other focuses. But in actuality, it provides a useful element of movement in the motivation of change in a dramatic expression, [and] therefore provides a recognition of energy within the other focuses of this type of movement, which may almost be viewed as violent.
CARTER: So it’s a catalyst, so to speak.
ELIAS: It is an action of familiarizing. This shift in consciousness creates dramatic change which also involves trauma, and in some expressions of that trauma, it may be viewed as violent. This may be viewed also in the concept of revolutionary. That particular expression of revolution differs from other revolutions that have occurred throughout your history, for it was created in a type of movement that you may objectively view as stopping and starting and stopping and starting – ongoing.
Therefore, as you view your history, you may find it difficult to identify in actuality the movement of what you classify as the revolution itself and when its actual occurrence was manifest, for it may be identified in several time frameworks within a period spanning a hundred years of your time. The actual revolution was not ongoing constantly, so to speak, without break in its expression within that hundred years, but in another manner of speaking, it was continuously ongoing.
This particular expression of revolution mirrors the movement within this shift in consciousness, in which you view throughout a period of more than one hundred of your years an objective recognition which appears to be stopping and starting. In actuality, it continues in its movement, but you view bursts of energy that you may associate with this shift in consciousness. Therefore, this particular expression of that particular revolution sets a type of familiarity with the movement of energy.
CARTER: Would this type of expression or a similar expression take place in the various chapters of this book that we speak of? (Pause)
ELIAS: Partially; not to that extent. Each of these chapters focuses upon certain movements in relation to this shift in consciousness, allowing the essences in participation with that movement to become familiar with different avenues of expression and perception.
Within the time framework and location of what you identify as the Egyptians, the pyramids and pharaohs, there is an expression of manipulation of energy in relation to physical healing, or the recognition that individuals within physical focus may be manipulating energy in physical manners to be manifesting different types of expressions that many other time periods view as impossible. Therefore, there is an exploration of a particular type of movement which relates quite directly to this shift in consciousness.
Within the time period that you view to be medieval and the following of this wizard, it offers a difference in perception which you now view in relation to metaphysics and a different type of manipulation of energy, allowing you a familiarity with opening to your periphery and widening your awareness.
The future focus lends also to the familiarity, to be offering an expression that minimizes trauma, [and] offers a familiarity that you assimilate in this time framework and allow yourself a sense, so to speak, of safety rather than fear.
Therefore, each focus in the chapter focuses offer[s] a different expression that all move together in the same subject matter.
CARTER: What is the name or was the name of the wizard?
ELIAS: (Grinning) And shall you not offer yourself the challenge to be identifying of this individual?
CARTER: Alright. (Laughing)
ELIAS: Ha ha ha! Quite obvious!
CARTER: Yes, too obvious! (Laughter)
ELIAS: Ha ha ha ha ha!
CARTER: And I’ll work on the time period also, other than medieval.
CARTER: So as I understand it then, it would be Egyptian, the French Revolution, the present, the future in the city ... did I mention the British Isles already? And the Judea was no, and the Ottoman was no. So that’s five, I think is correct.
ELIAS: Correct, and you may attempt to be discovering the other!
CARTER: (Laughing) Alright. Well, thank you very much. I appreciate it.
ELIAS: You are quite welcome. (Chuckling)
SHARON: So, good afternoon, Elias.
ELIAS: Good afternoon!
SHARON: And how are you?
ELIAS: (In unison with Sharon) As always! (Laughter) HA HA! And you are anticipating another response? (Chuckling)
SHARON: Oh, not in the slightest!
ELIAS: Ha ha ha!
SHARON: Not at all! It’s very nice to meet you objectively.
ELIAS: And you also! And how shall you proceed this day?
SHARON: I’m curious about my connection to you.
ELIAS: Ah, and what is your impression?
SHARON: Oh, it’s very intimate, very close. I can’t define it; perhaps a professional connection and a personal connection.
ELIAS: In identification of other physical focuses within this particular dimension?
SHARON: I don’t understand. I’m identifying as a writer. I’m identifying, though, with a group of people – not a single entity, but a group entity – and a lot of information is coming through, almost too much.
ELIAS: Ah! (Grinning)
SHARON: (Laughing, and Elias chuckles) Is this like an Oscar Wilde, or is this a Mark Twain, or is this a combination?
ELIAS: You do participate within that particular focus.
SHARON: The Oscar Wilde focus?
ELIAS: Yes, you are correct.
SHARON: And that participation is very intimate?
SHARON: Oh, okay....
ELIAS: (Humorously) Although I may express to you, my friend, that once you have absorbed yourself in the presence of this individual and experienced the fullness of the attention of this individual, it becomes an everlasting impression! HA HA HA HA HA HA HA! (Laughter)
SHARON: Okay, and I experienced it in this focus also?
ELIAS: Ha ha ha! I may express to you, yes, within that focus, there is a brief encounter in intimacy.
SHARON: Very electric. It was blue; very electric! (Elias chuckles) And it sparked! Yeah, thank you! (Much laughter) It was quite cool! (Laughing)
ELIAS: You are quite welcome! ‘Tis my pleasure! (Chuckling)
SHARON: (Laughing) No, it was mine! Trust me, it was mine!
ELIAS: Ah! Therefore, we share the pleasure! (Laughing)
SHARON: Yes, we do share! (Laughing)
So, the writing – you help me with the writing? It’s partially my creativity, and partially yours? My question is that when I write, sometimes I have the feeling that there’s a piece that’s yours, and you sign it. Do you do that?
ELIAS: It is an offering of energy in inspiration.
SHARON: But you sign it?
ELIAS: It is what you may view as an energy signature, although it is an offering of inspiration, and is not an actual direct expression of my energy channeled to physical form, for this is unnecessary.
What IS expressed is a movement in mergence with your energy, and NOT an interference ...
SHARON: No, it doesn’t interfere.
ELIAS: ... of my energy to be creating any obstacle for your energy to be freely expressed. Therefore, in this mergence, there is created an allowance for a free flow.
SHARON: Okay. But you think it’s funny at times? I mean, you think it’s humorous!
SHARON: And you laugh! You go, “This is hysterical. This is good!”
ELIAS: (Humorously) I am QUITE amused ...
SHARON: (Laughing) Yes, you are amused!
ELIAS: ... with the energy exchange, and the production which is created in relation to that energy.
Let me express to you, it is quite pleasurable to myself to be engaging fun and playfulness, and as I may be moving in conjunction with any physically focused individual that is COMPLIANT with playfulness and fun, I shall be quite expressive in relation to that individual, and this is what you are noticing of. Far too many individuals within your physical focus are FAR too serious!
SHARON: Well, yeah! No shit! (Everybody is cracking up) Yeah, we’re way too serious!
ELIAS: Ha ha ha!
SHARON: (Laughing) Okay, so like about 1989, I made a decision to write spiritual humor, ‘cause I thought it was all far too serious. I mean, this is like, we’re taking it too serious! This is another religion! (Elias chuckles) We’re making up rules, you know? Let’s genuflect and cross ourselves, and what’s going on? (Elias chuckles again) So, I want to know why all of a sudden that just came to me. Did I ask for that?
ELIAS: No. You have allowed yourself to be objectively realizing another expression and avenue of your intent in this individual focus ...
SHARON: Which is Tumold.
ELIAS: ... and in that expression, you allow yourself to seek out avenues that shall offer information to other individuals, figuratively speaking, as a wake-up call.
SHARON: Okay. So the alarm is going off – ding ding ding! (Elias laughs) The 2001 alarm is going off!
ELIAS: And I express great acknowledgment and encouragement for your continuation in this expression!
SHARON: Thank you. (Elias chuckles) Thank you! (Laughing) And I have no idea where it’s going.
ELIAS: And it matters not!
SHARON: No, I know it matters not....
ELIAS: Ha ha ha ha ha!
SHARON: But it’s such a surprise....
ELIAS: For what holds significance is the now, and where it IS.
SHARON: Yeah, okay. Can I ask you about other focuses? Very strong Egyptian focuses ... and the Sumari alignment, is that the Egyptian?
ELIAS: Not necessarily, although I may express to you that you do hold a focus within that time framework that is in that expression objectively. But do not be associating the entirety of the Egyptian movement as aligned with the expression of Sumari, for all of the essence families are expressed within that also.
SHARON: So there is a lot of energy, though, that comes from that.
ELIAS: In a manner of speaking. There are many, many, many individuals that are manifest within that physical time framework and are participating in the movement of energy of that culture, and as you are experiencing all of your focuses simultaneously, certain focuses that align with strongly expressed cultures appear more obvious to you objectively than other focuses, in similar manner to your objective memory and the function of your objective memory.
If you are creating an event within this focus which holds tremendous energy, and you view this to be quite significant within your focus, you shall also create an objective memory throughout your focus of that event, and you shall not be forgetful of it. There are other events within your focus that you may deem to be mundane, and you may not choose to be objectively remembering of them as readily.
In similar manner, you create an underlying knowing and memory of other focuses, those that express strongly in their direction and their expression of energy. You identify the draw.
SHARON: Can I ask you this? In different expressions of writers, especially in the area of humor, is there a central pool to draw from, like a combination of ideas? (Pause)
ELIAS: In a manner of speaking, but let me be clear. Each individual that manifests within your physical dimension creates energy deposits, and creates what has been termed as a world view. This is essentially an identification of a type of energy deposit within consciousness.
Now; understand that you are all of consciousness. Therefore, there is no larger entity than yourself floating about in some elusive cosmos which is other than you, and there is no force within consciousness that categorizes certain expressions of energy deposits or world views and sections them by expressing, “All those that have chosen to be writers shall be categorized in this area and shall be available to all future writers. All those expressing architectural movement shall all congregate in this area of consciousness and shall be accessible to all future architects.” No.
But be remembering, you are all of consciousness. There is no expression of consciousness that is not you. Therefore, you hold the ability – and many individuals in actuality do create this type of movement – to be creating your own categorization or your own inner reference system, so to speak.
Therefore, YOU move the energy of all of these like expressions into an area within you – as consciousness – that you may tap into as you are so choosing. You mirror this action within your actual physical objective movements – you create what you term to be filing systems.
All that you create within your physical objective reality, you also create within other expressions of consciousness. The imagery may be expressed differently, but the movement is the same.
SHARON: Okay, so it’s a pool. It’s just a giant ... it’s air! Is it air?
ELIAS: Ha ha ha ha! Quite likened to!
SHARON: (Laughing) Yeah, it’s just air, and it’s everywhere!
SHARON: Oh! And you get whatever you want! (Laughing, and Elias chuckles) Am I emotionally focused?
SHARON: And my intent is Tumold, and this is to heal through writing?
ELIAS: Each individual holds an individual intent. You also express the qualities of the intents of the family that you are belonging to and the family that you are aligning with within any particular focus. But each individual is highly unique, and therefore, you also express an individual intent which is of your design and your choice of direction.
Therefore, you are influenced by the qualities of the families, and you choose how you shall be expressing that influence uniquely, engaging your unique expression of creativity.
You have chosen within this focus to be expressing your intent in the creativity of an outward expression to other individuals – and also for yourself – in turning the viewing of religious beliefs.
Individuals within physical focus identify spirituality to be synonymous with religion. Regardless of how vehemently they may express to the contrary and how they may rail against this statement, their idea, their concept of spirituality, is derived through religious beliefs.
SHARON: Oh, absolutely!
ELIAS: And therefore...
SHARON: I offer them...
ELIAS: ...an alteration.
SHARON: Baby cheeses!
ELIAS: HA HA HA HA! (Sharon cracks up) And the baby Buddha!
SHARON: And the baby Buddha!
ELIAS: HA HA HA HA HA HA HA!
SHARON: And you gotta keep baby cheeses refrigerated, or it’ll go bad! (Laughing)
ELIAS: HA HA! And lest we forget, the baby Allah!
SHARON: And the baby Allah! Yeah, all of ‘em! Cover all our bases, right? Every one of ‘em! (Cracking up)
ELIAS: Ha ha ha! And such a delightful plate this shall create for any individual to be consuming!
SHARON: Oh, that’s so true! It’s like the blue-plate special!
SHARON: And it’ll have all the varieties of a smorgasbord!
ELIAS: Ha ha ha ha ha ha! And we may become QUITE irreverent and express that you may order several baby Buddhas, for they are quite plump! (Grinning, and Carter loses it)
SHARON: That’s true, and you should have like holy water to go with that.
ELIAS: HA HA!
SHARON: And a little wine! (Cracking up)
ELIAS: (Laughing) I assure you, you shall be witnessing the whine with this meal!
SHARON: I do, yeah. I witness the wine a lot. (Elias cracks up) I’ve been witnessing a whole lot lately! (They’ve all lost it now) And I realize this is not bad, but it could be expensive!
ELIAS: No, no, no. Not very expensive. What shall it cost you merely to be observing all of the whine that occurs with the serving of this meal? For I may express quite definitely, I have heard the whine that is being expressed with this type of meal, and how irreverent it may be! Whine, whine, whine, whine, whine! (With a self-satisfied grin, and chuckling humorously)
SHARON: Okay, okay, okay! (Laughing)
ELIAS: HA HA HA HA!
SHARON: Fine with me!
ELIAS: We shall be quite playful together, my friend!
SHARON: Oh, we already have been!
ELIAS: And dismantle this shrine of reverence! (Chuckling)
SHARON: Dismantle the shrine, okay. Piece by piece, though.
SHARON: Yeah. You can’t just take out the bottom brick and the whole thing falls down.
ELIAS: You may, but you may also be creating trauma in that action! (Chuckling)
SHARON: Just start at the top and dismantle down. Yeah, okay. This is not distorting, though? Is this distorting, or just playing?
CARTER: Yeah, the Sumafi cops always seem to come down if there’s distortion!
ELIAS: Ah! This is playful, and it is purposeful play. (Grinning)
SHARON: Oh, absolutely. I mean, there’s a purpose, there’s a message, and there’s fun! And it’s everywhere, and not everybody gets it.
SHARON: Yeah. (Elias chuckles) But those that do take what they need? (Elias nods) Okay. So is there a better way I could ... no, better is wrong....
SHARON: This is an opportunity!
CARTER: That’s a double judgment – better is wrong! (Laughing)
SHARON: Is there a way....
ELIAS: Ah! Look to your expression of acceptance! And what shall she say to this? Ha ha ha ha ha ha HA!
SHARON: Never mind!
ELIAS: HA HA!
SHARON: I withdraw the question! (Laughing, and Elias chuckles)
Okay, I’m curious about other focuses, and I’m curious about the families and alignments for my children. Can I ask that?
ELIAS: If you are so choosing.
SHARON: Yeah. Glen, my son Glen – his family, his alignment, his orientation. (Pause)
ELIAS: Essence family, Sumafi; alignment, Borledim; orientation, common.
SHARON: And my son Greg – family, alignment, orientation. (Pause)
ELIAS: Essence family, Sumari; alignment, Milumet; orientation, intermediate.
SHARON: And my other focuses? I don’t think I’m in that capacity yet, to trust myself and those impressions that I receive, so....
ELIAS: Ah! Then I shall be encouraging of you ...
SHARON: I know!
ELIAS: ... and challenging of you to BE allowing yourself this expression of trust.
I shall express to you in this now, you have allowed yourself a tremendous expression of trust in your creativity. Afford this to yourself in your knowing of yourself also. This is your projection outward, your expression of creativity that you project outwardly, which offers you information and offers information to other individuals, as I have expressed. Afford yourself that trust inwardly. And I may express to you, the impressions that you allow are not imagination.
SHARON: Yes, I understand.
ELIAS: They are quite real. Therefore, as you recognize your impressions, stop momentarily and acknowledge yourself, that you have offered yourself an impression that is quite real.
SHARON: Okay. So sometimes I need to read my own writing to understand.
ELIAS: Ah! Yes! (Grinning)
SHARON: So I write it, and then go back and read it with a different understanding.
ELIAS: And a difference in perception.
SHARON: Yeah, the perception changes.
SHARON: So I’m writing for me, and sharing it.
ELIAS: Both, yes.
SHARON: It’s very informative stuff. (Laughing, and Elias chuckles) It’s also very enjoyable, very creative.
ELIAS: This is the expression of your creativity. It is the expression of your pleasure.
SHARON: Yes, very much so.
ELIAS: Therefore, it shall be quite enjoyable!
SHARON: Okay. Wow. And having to do with chapter focuses, am I like a final chapter? (Pause)
ELIAS: I shall express to you, in relation to chapter focuses, you ALL within this particular time framework are participating in a final chapter, for you are participating in the construction and the insertion of this shift. Even the future focus is not identified as the final chapter, for the future focus lends energy and familiarity to this focus, and this time framework is the point. Therefore, in relation to chapter focuses, many, many, many chapter focuses are culminating within this particular time framework as the theme of the book, so to speak.
As to the identification of final focus, what is your impression?
SHARON: Oh, in the case of final focus? I feel as though I were gathering strings, and each focus is a string, and now I braid them together to make the rope that ties it all together. Whether that’s a final focus, I don’t know.
SHARON: I’m not a final focus.
SHARON: But I feel like I’m cooking or baking something.
SHARON: So I bring it all together, and it rises and bakes, and is ready to be eaten and shared, and it’s enjoyable ... and we can have wine with it!
ELIAS: HA HA! Or not!
SHARON: Or not!
ELIAS: Ha ha ha ha ha!
SHARON: As you choose! (Laughing)
ELIAS: Or you may be consuming the type of wine that you may be drinking! (Laughing)
SHARON: Well, I had that in mind, yeah! (They both laugh)
So, it’s a great message. It’s a wonderful message. If I were to identify it, I’d say it’s maybe on page 62, kind of called a climax. Are you with me here? (Laughter, and Elias chuckles) So we’re doing the chase, we’re doing the chase scene, and then we’ll come down and there will be like final credits later on. (Laughter) So this is the part where if you were eating popcorn, you’d be eating it real fast, ‘cause it’s kinda exciting!
ELIAS: Ah, the culmination. (Nodding humorously) (1)
SHARON: The culmination, yeah. It comes all together.
ELIAS: Correct. (Grinning)
SHARON: Okay, but it’s quite lengthy.
ELIAS: And has been!
SHARON: And has been. So it has many pieces and parts to it. (Elias nods) It’s a lot of fun. Thank you. I thank you for your help.
ELIAS: You are very welcome, and I shall continue to be offering.
SHARON: It feels very good. It’s very comfortable. Wow.
And the imagery, the animal imagery – the dragonflies, the moths. I get a lot of moths that come in and hover around the light. It has a lot to do with the lights. Sometimes they fry themselves. And now I have crickets, a lot of crickets. They’re taking over. They come in my house, they hang around. What represents crickets? Are they good luck?
ELIAS: Ah, and what is your belief as to these creatures, and why you draw them to yourself?
SHARON: That they’re good luck.
ELIAS: Ah, and therefore you draw them to yourself as an expression of validation and comfort.
SHARON: And the validation at one time was outside, but now they come in. You open the door, and the little ones come in. The big ones are just kinda hanging out there, but the little ones come in.
ELIAS: And view your own imagery in symbolization.
SHARON: Little by little, the validation comes in.
SHARON: It just kinda crawls in....
ELIAS: Ha ha ha ha ha ha! (Sharon must have been goofing around here ‘cause Elias is laughing at something, and so is Carter...)
SHARON: It hangs around the bottom of the table (laughing) and peers over, but the big ones are coming in, yeah, they’re coming in. (Elias chuckles) So, it’s self-validation?
SHARON: And it’s comfortable. Thank you.
ELIAS: You are very welcome.
SHARON: Do we have a time limit?
CARTER: I think, if you don’t have anything pressing, it’s probably a good time....
SHARON: No, I don’t have anything pressing, but I do ask, or will recognize rather, the assistance and the presence, and appreciate it.
CARTER: Hear hear!
ELIAS: You are welcome, and it shall continue to be offered, as always. I express great affection to you each, and we shall continue within our interaction ... playfully!
CARTER: Hear hear!
CARTER: Yes, yes! (Laughing)
SHARON: Playfully! (Laughing) With wine – don’t forget the wine!
ELIAS: HA HA HA HA HA! (Much laughter)
I express to you each in great lovingness, until later, au revoir.
SHARON: Au revoir.
Elias departs at 3:12 p.m.
(1) In viewing the tape, it seems obvious that this is a tongue-in-cheek comment, but Elias didn’t continue in that direction. My guess is that if asked, he would have more to say about the idea/concept of culmination.
© 2000 Mary Ennis, All Rights Reserved.