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Tuesday, December 19, 2000

<  Session 745 (Private/Phone)  >

ďEmotion as a CommunicationĒ

ďExploring the Role of VictimĒ

ďExploring the Action of DramaĒ

Participants: Mary (Michael) and Debi (Oona).

Elias arrives at 1:19 PM. (Arrival time is 22 seconds.)

ELIAS: Good morning, Oona!

DEBI: Good morning, Elias! How are you?

ELIAS: As always, and yourself?

DEBI: Well, Iím a lot better now! (Elias chuckles) I had a really, really nice conversation with Mary. I want to start off today with the challenge you presented to me in our last conversation.

ELIAS: Proceed.

DEBI: Okay. I had asked you if we had shared any focuses, and you said yes, and you wouldnít give me any information. You challenged me. So I did a little research on my own, and I thought Iíd run a couple of things by you.

ELIAS: Very well. Present your impressions.

DEBI: Okay. The first one ... first let me just say this. Theyíre just fleeting impressions, but I think I hit on something. The first one I got was some type of doctor or dentist/patient relationship.

ELIAS: Physician; yes, you are correct.

DEBI: Am I the physician?


DEBI: Okay. So I was right, then. Can you give me any information on that Ė where, when?

ELIAS: I may express to you that this relationship occurs within your early 1800s, within the physical location of France, in the creation of a friendship between these two individuals in that particular focus, as the focus of this essence sustained what may be termed to be a serious wound and engaged the services of this physician, and subsequently these two individuals become friends and continue to engage that relationship for many years, in your terms.

DEBI: Okay. Thatís wonderful! Okay, that was the first one. The second one I got was a Marie Antoinette connection, and Iím not real clear on how this works, but I got her name followed by a face when I was looking for a connection between you and myself. Is that me? Is that you? Is that some other connection through her?

ELIAS: This is the same focus. You have merely presented yourself with that imagery to be identifying a time framework and a physical location.

DEBI: Okay, alright. Now, the last one, and Iím not sure if these two things go together or not, but the first thing was an image of a really huge black sailing ship, and then following closely after that was me feeling like somebody stabbed me in the face or throat with a great big huge kind of a blade, a sword or something like that. Was that a connection with us?

ELIAS: Yes. This is an earlier time framework, in your terms. In this, the ship may be identified as Dutch. You in that focus are a native of the continent of Africa, and engage the role of captive and slave upon this ship. In that particular focus, I engage the role of a mate upon this ship, although am not engaged in the physical action that you are identifying. That event occurred between yourself and another individual. But I am focused in that scenario upon that ship as another individual.

DEBI: Okay. That was really intense, by the way. I felt it! It was very brief but very effective imagery. (Elias chuckles) Thatís all Iíve come up with so far. Iíll play around with that some more.

ELIAS: Very well, and be validating of yourself that you are offering yourself information through your impressions!

DEBI: Yeah, it is validating, and itís a lot of fun. Itís kind of an adventure each time!

ELIAS: Ha ha ha!

DEBI: I want to ask you something. There was a period of time, maybe a month or two ago ... you and I had a thing before where you were buzzing my ankles, and for a while there, it was like my ankles were buzzing almost all the time, and I was thinking, is that him? Is that me? Is something else happening? Then it stopped, and I wondered if you would comment on that.

ELIAS: Your impression is correct in your allowance of yourself to be noticing that this electrical incorporation of energy is an expression of myself offering objective interaction with you that you may recognize.

In this, I have engaged similar actions with other individuals, but it is unnecessary to be continuously creating that type of expression of energy filtered into your actual physical reality. The point has been offered in allowing you to experience an actual physical interaction with myself in energy, and therefore it is unnecessary to be continuing.

DEBI: Well, I wondered if you ... because I was thinking ... what I was thinking was that I was discounting it, like I couldnít possibly be that well-connected. (Laughing)

ELIAS: Ha ha ha ha ha ha ha!

DEBI: I thought, well, if Iím gonna think that way, no wonder he stopped. You know what I mean?

ELIAS: Ha ha ha ha ha!

DEBI: Itís not necessary all the time, but it was really a cool thing! I really enjoyed that.

ELIAS: Let me express to you, in engaging these types of interactions with some individuals, this type of energy projection, once recognized and acknowledged, may be futurely engaged, but in a different capacity, for you may be recognizing that type of energy and experiencing that physical sensation in relation to your movement and my communication with you at times.

In this, in moments that I am projecting energy to be attaining an individualís attention, [it is] that they may allow themselves to pay attention to what is occurring within their reality in that moment. I have engaged and continue to engage this type of energy projection with other individuals, and shall also participate with you, IF you are receptive to that interaction.

DEBI: Well, I think thatís great. I much prefer that over the blinking lights!

ELIAS: Ha ha ha ha ha!

DEBI: (Laughing) I keep thinking that if my lights go out, thatís gonna freak me out, and I donít want that to happen! I spook myself! (Elias is laughing) Okay. Well, great. Iím glad to hear that that is what was going on.

You know, when we spoke last time, I asked you a question, and what I wanted to know was if I were a final focus, and I worded it in such a way that when I read it back later, I was still confused. So could you answer that question? Am I?

ELIAS: Express to me, what is your impression?

DEBI: I think I am.

ELIAS: You are correct.

DEBI: Okay, because Iím so through!

ELIAS: Ha ha ha ha ha ha ha!

DEBI: But after talking to Mary, Iím not quite as through, and I think Iím feeling better by the minute. Oh, can I ask you one more question like that, as far as the number of focuses I have and how many might be accessible to me?

ELIAS: Very well. Total numbering of focuses in this physical dimension, (15-second pause) 2006.

DEBI: Two thousand six? Whew!

ELIAS: Those accessible to you in the most expression of ease, (14-second pause) 418.

DEBI: Oh, thatís plenty to stay busy! (They both laugh) Iíll be gone before I investigate that many! Okay, great.

The other thing I want to check with you is my personal color.

ELIAS: And express to me your impression.

DEBI: Well, from what I can see, itís like a very pale kind of blue-green. I call it a glacial green. I donít know what the word for it is, possibly cyan. Iím not sure, but Iíve seen it. (13-second pause)

ELIAS: I express an identification to you ... (15-second pause). It may be expressed as a pearl coral green.

DEBI: Coral green? Wow, that almost sounds conflicting to me. Iím trying to ... well, okay. Alrighty. (Elias chuckles) Coral green.

Alright, I have been working on trying to identify my intent, and Iíve read transcripts and youíve suggested that people look to what it is that you do throughout the entirety of your focus or whatever, and the only thing that I can really land on is that I seem to like ... I get very passionately attracted to or involved in some thing Ė some person, some thing, some place, whatever, all kinds of different things Ė and I throw myself into it and I just eat it up, and then Iím done and I move on. Thatís the only real continuity I can find. (Laughing) Am I anywhere in the right direction?

ELIAS: Yes. Let me express to you, this is a significant aspect of your experiences within this particular focus.

For what you have chosen in this particular focus as a direction of intent Ė incorporating the expressions of family and alignment also within your individual intent Ė is to be allowing yourself to create and explore and examine within your experiences the depths and the maneuverable avenues in the expressions of drama.

DEBI: Oh! (Laughing)

ELIAS: Therefore, your experiences are in actuality quite diverse, but the theme of these experiences is to be incorporating an exploration of how they may be created in the expression of drama.

Drama is an interesting expression within this physical dimension, and in this, there are many beliefs associated with this type of expression.

Many individuals view the expressions of drama in negativity, and in the expression of some individuals, it may be a distraction and an expression that at times may cloud their viewing of what they are creating. But in the experiences of some individuals, it may also be perceived to be an enhancement of their exploration, for the expression of drama creates an enhancement of the physical objective experience and imagery that the individual may be engaging.

Drama creates what you physically term to be a larger expression, which creates more of an obvious expression to be viewed objectively, and in some situations with some individuals, this may in actuality offer them more of an objective clarity in relation to their experience.

In your choice of intent and direction within this particular focus, you are not merely offering yourself a clearness in your experiences Ė and figuratively speaking, more of a solidity of your experience Ė in creating this expression of drama in association with your experiences, but you are also exploring the action of drama itself and the different forms that it may be created into, and allowing yourself the exploration of how you may be manipulating that energy in different manners to be creating the actual expression of drama.

DEBI: Oh, thatís fascinating. Iím telling you, that is fascinating! And youíre right Ė drama can tend to have a very negative sound to it for a lot of people. But yeah, that fits me!

ELIAS: Ha ha ha ha ha!

DEBI: It just does, and I appreciate that. Thank you.

ELIAS: You are quite welcome.

DEBI: I want to also ask you about something that happened. It was the first night that the Alabama gathering happened, and I had what I think might be an other-dimensional kind of experience. It started ... it was something with my left eye, and as the night progressed it turned into quite an experience, and then I think it could have been with both eyes, but it was clearly not something wrong with my eyes. Does that make sense? Iím not quite sure what was going on.

ELIAS: I am understanding.

DEBI: Can you explain that to me?

ELIAS: As I have expressed to other individuals that have allowed themselves similar experiences, you are correct. This is an allowance of what may be termed as bleed-through into your objective awareness and experience of an intersection, figuratively speaking, of an other-dimensional focus and this focus of attention that you identify as yourself.

In this, you allow yourself a temporary experience in viewing visually in the manner that the other focus shall view your physical world, so to speak, through their vision.

DEBI: Okay. So it was as if I was viewing my world through their vision.

ELIAS: Correct.

DEBI: It was beautiful. It was colors and shapes and ... it was beautiful!

ELIAS: This also is another allowance of yourself to be investigating and experiencing other aspects of your essence, for they are all incorporated within you, and in this, you allow yourself an experience.

For unlike focuses that are held within this particular dimension, the experiences of other-dimensional focuses of your essence do not accurately translate into your physical dimension in a manner in which you shall hold an objective understanding through thought, and many times you may not hold an objective understanding of them through an actual viewing of them.

But you offer yourself an experience that is created by them, and this offers you an identification of them, and a knowing rather than a translation through objective thought that is limited to your recognition and identification of this particular dimension.

Are you understanding?

DEBI: I think so, yeah. You know, when that was happening, there was no way I could have possibly Ė how do I say this Ė translate it, the whole thing, into any kind of thought.

ELIAS: Correct.

DEBI: And I wouldnít have even tried. I basically ... as far as I could get was just trying to get a clue what might be happening, and I donít see how it would ever be possible for me to actually, from where Iím standing right now, understand what that was. Do you know what I mean?

ELIAS: Correct, and this is the reason that you allow yourself the communication through a different avenue.

DEBI: It was very enjoyable, and Iím glad that it happened. I hope it happens again! (Elias chuckles) It was a lot of fun.

Okay, you had also suggested in our last session that I do a little investigating of ... there was another focus that I attempted to do that with. Iím not quite sure what her name is, but I think it might be Hannah. Do you know the one Iím talking about?

ELIAS: You are correct.

DEBI: It is Hannah. Okay. Well, I had a couple of things happen. One, I saw her with a knife in her hand. That was that. I also saw her sitting on like a tree stump or wood, kinda like riding on a log. And then one other thing is, it started out as if I was her sitting in a prison cell, basically looking out the window, but then I kind of stepped aside and started having this conversation, and basically telling her that she created her own prison in the conversation, in that direction. I just want to ask you, is that basically where you were suggesting I go? Are you understanding?


DEBI: I donít know if Iím making a lot of sense with this, but it seemed to have a lot of significance, the prison particularly.

ELIAS: Quite. Yes, I shall be acknowledging of you that you have allowed yourself a significant offering of information, and this IS what I have been directing of you within, for this also holds significance in relation to yourself within this focus, as you are aware.

DEBI: Very. Okay.

Well, maybe I should just jump to something else, since itís kind of in line with that. I wasnít quite sure if I was going to bring this up or how I was going to bring it up or not, but Mary and I discussed it quite a bit, just this feeling of creating my own prison. I have literally felt like I was going crazy lately, from one extreme to the other, the emotional thing, particularly being absolutely homicidal around my family. I donít know, Iím not getting where this is coming from. Just the whole thing ties into this feeling of just literally feeling like Iím imprisoned, and I just want to Uzi everybody out of my way. (Elias chuckles) You know? And itís very uncomfortable.

ELIAS: I shall express to you the question, what are you denying you? For this, in its simplicity, is the communication that you are attempting to offer to you, and this is the reason that you are experiencing these emotions. They are communicating to you. They are expressing to you the identification of your denial to self, and this be the reason that you are translating that into frustration, and at times anger.

DEBI: A lot! (Elias chuckles) A real lot, and Iím no stranger to anger. Iíve done that all my life. But this just seems way out of proportion, and itís very frequent.

ELIAS: For you are not receiving your communication.

DEBI: Is it just that Iím basically denying myself choices?

ELIAS: Yes! Now, as you offer yourself that information, allow yourself to pay attention to what you are expressing to yourself in that denial of choices.

DEBI: Well, it seems that Iím basically feeling like I cannot make the choices, like theyíre not mine to make.

ELIAS: Ah, but they are.

DEBI: Yeah, they are mine, and I know that intellectually, but it feels like that creepy feeling, like feeling like Iím a victim....

ELIAS: And in this, you ARE creating this role of the victim, and this also is another aspect of the communication through these emotions, in relation to your view of BEING a victim, and that is translated in the emotion of anger.

Let me express to you, each of you as individuals incorporate emotion and the expressions of emotion in offering yourselves communications in different manners. You may be expressing the same communication, but you may be offering that communication to yourselves through different emotions.

An individual may view themselves to be or may be identifying that they are creating the role of victim within themselves, which is merely the denial of choice or the perception that you do not hold choice, that choice is not available to you.

In this, one individual may express that communication through the emotion of anxiety. Another individual may express that communication through emotions of what you identify as depression. Another individual may express this through an emotion of sadness. Another individual, such as yourself, may express that communication through the emotion of anger.

DEBI: Oh, okay. (Sighing) Well....

ELIAS: Let me also express to you information concerning this communication of emotion.

As I have stated previously, your subjective and your objective are continuously in harmony to each other. They are continuously creating the same action. They are merely expressing it within different imagery.

Now; in recognizing that, I may express also to you that both the subjective and objective awarenesses engage the same beliefs. You do not hold different beliefs within your subjective awareness than you shall within your objective awareness. The communications of your subjective and objective may be expressed physically in different manners, but they are in actuality expressing in relation to and as influenced by the same aspects of beliefs.

Therefore, just as your objective awareness views the role or the action of being a victim in a negative manner and in agitation, your subjective reflects that through the communication of the emotion of anger. They fit.

Therefore, in this, you may allow yourself the recognition now that your objective and your subjective are creating the same movement. What you are creating outwardly and experiencing objectively is also being expressed subjectively, but your subjective awareness is communicating an identification of that experience, identifying and in a manner of speaking pinpointing to you that identification of what you are creating.

It is not what other individuals are creating. They are merely the reflection to you, of you. All of the expressions of the other individuals that you are interacting with are reflecting to you what you are creating within you, and your subjective awareness is validating and defining that through the communication of your emotion.

And in this, you are quite simply expressing to yourself Ė but not paying attention to Ė the communication that you ARE creating the role of victim within yourself, expressing to yourself that you do NOT hold choices, and therefore denying yourself the ability to not merely move into the expression of choice, but not allowing yourself to view that you even hold choice.

DEBI: Wow. Thatís exactly what it feels like too. So when Iím ... Iím trying to back up a little in my head to get the picture on this. Iím looking at all these individuals, and theyíre just irritating me, and that ... and then that comes back, and thatís my objective view.

ELIAS: Quite.

DEBI: They are irritating me.

ELIAS: Quite. This is the reflection.

DEBI: And then the subjective ... I end up with this anger ... from them? Is that what youíre saying, that the two are working together?

ELIAS: You yourself are already creating a direction of attention, addressing to or allowing yourself to interact with an aspect of yourself.

Now; in this, as you choose to be allowing yourself to address to certain aspects of your individual beliefs and your association with those beliefs and how those beliefs are influencing your perception, you project energy outwardly, and in that projection, you create a reflection that you may objectively view. You engage this through other individuals.

The other individuals are NOT creating your reality. They are not creating your emotions. They are not creating your thoughts. They are not creating your perception or your associations. They are not ďdoing to you.Ē They are merely reflecting what you are already creating, and in that reflection, you allow yourself an engagement of that reflection through two avenues, objective and subjective.

The objective views, through physical means and functions, the interactions, and participates through physical avenues. The objective also offers a communication to you to be defining your own creation, your own action, your own movement, and your own expression through thought. Simultaneously, the subjective also offers you a communication, in assessment of what you are creating and your experience, through emotion.

Both awarenesses are offering you communication simultaneously through different avenues.

DEBI: Okay, I think I understand it now. One isnít creating the other. Theyíre both happening at the same time.

ELIAS: Correct.

DEBI: Okay.

ELIAS: And it is not the actions of other individuals that you are reacting to or responding to. It is what you yourself are creating that you are communicating to yourself about.

DEBI: Yeah. You know, I know that Iím creating all of it on some level. (Elias chuckles) Itís quite a big thing for me to grasp, but I do know that they are not creating for me. But still, I just keep falling into this same hole, you know, and itís just getting ... the noise Iím creating for myself to get my attention is getting so huge that Iím finally paying attention. (Laughing, and Elias chuckles) I guess itís kind of like, for me, sometimes something has to get SO uncomfortable before I notice it.

ELIAS: Now, let me also express to you, Oona, in relation to this subject that we are discussing, do not be discounting of yourself or chastising of yourself or judging of yourself, for be remembering in this also your intent.


ELIAS: Therefore, in allowing yourself the recognition of your intent coupled with your communications to self, the manner in which you create your experiences and in which you explore your reality is quite consistent with what you are creating presently, for you are also incorporating the aspect of drama, and this is not bad!

DEBI: Okay. Iím gonna have to remind myself of that a lot, because itís such a habit of thought to go to that bad place, you know?

ELIAS: Let me express to you, you may be offering yourself more of an expression of freedom in your creation of drama and your exploration of it if you are allowing yourself the recognition that this is an expression, a method, so to speak, that you have chosen, and if you are allowing yourself less struggle with that in itself, you may be experiencing much less conflict with the drama itself.

For this is a strong aspect of your conflict, is that you are continuously placing judgment upon the expression of the drama in addition to what communication you may be engaging with yourself in any particular experience. Therefore, without the judgment upon the aspect of the drama itself, you may offer yourself much less conflict and much more mobility.

DEBI: Yeah, I can see how Iíve done exactly that. Iíve spent so much time judging the way Iím acting and reacting, like why did I do that, or I need to calm down, all this and that. Iím fighting myself constantly.

ELIAS: Correct, and if you are allowing yourself to cease the fighting and offer yourself permission to merely create in the manner which is natural for you to BE creating, this shall eliminate much of your conflict.

DEBI: Iím gonna try it! (Elias chuckles) I really appreciate this.

ELIAS: Ha ha ha!

DEBI: I told Mary earlier that I was starting to lose the tension in my neck. I can feel itís just about gone now. (Elias chuckles) Itís such good news that I can be myself!

Well, our time is just about up here. Do we have time for me to enter a game impression?

ELIAS: Very well!

DEBI: I have a couple, but I think what Iím gonna go with is, Iíd like to enter a new category of toys.

ELIAS: Acceptable.

DEBI: Okay, and I would like to enter puzzles with Gramada, orange.

ELIAS: One point.

DEBI: Yeah!

ELIAS: Ha ha!

DEBI: I know I can only enter one....

ELIAS: Ha ha ha ha ha!

DEBI: So I wonít even ask!

ELIAS: Very well! You may engage your next entry at our next meeting.

DEBI: Thatís what I will do.

ELIAS: And I shall be anticipating our objective interaction in physical proximity in what you term to be near future!

DEBI: Yes! Castaic in January! Iíll be there!

ELIAS: Very well! I shall be anticipating this interaction!

I offer to you an expression of my energy, and encouragement in your new movement in experimentation. (Chuckling)

DEBI: Thank you so much. I really appreciate it.

ELIAS: I shall continue to be interactive with you and offering my expression of validation to you in the interim, until we meet again.

DEBI: Thanks. I appreciate that a lot.

ELIAS: To you in tremendous affection, my friend, I express au revoir.

DEBI: Au revoir.

Elias departs at 2:16 PM.

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