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Sunday, April 08, 2001

<  Session 818 (Private)  >

ďThe Adventure of a WalkĒ

ďRelax Your Energy: An ExerciseĒ

Participants: Mary (Michael) and John (Rrussell).

Elias arrives at 2:43 PM. (Arrival time is 25 seconds.)

ELIAS: Good afternoon!

JOHN: Good afternoon.

ELIAS: We meet again!

JOHN: We do. (Elias chuckles) I suppose I just wanted to carry on from what we were talking about last time, several weeks ago. I feel better today for some reason. I donít feel the force of talking about it, more than even yesterday or the previous day. Iím not quite sure where itís beginning.

We talked about different elements. Work was one of them, sort of the primaries. It is a good starting point, actually: lethargy, which is what Iíve been feeling, and work, which Iím not doing any of; Iíve decided not to. But I can carry myself on here for a time and not work, just try to enjoy it. (1) Thatís what Iíve decided to do, for a time. By the same token, I feel pretty lethargic. So, I donít know ... itís funny.

ELIAS: Therefore you are experiencing what you identify as inconsistency, for you are allowing yourself to be expressing your energy in more of a relaxation, not forcing your energy or pushing your energy, but you also experience this lethargic energy, as you term it to be, which appears to you to be conflicting or inconsistent.

JOHN: Yes, right.

ELIAS: Now; shall you also examine within yourself what produces this type of perception, this reality? For, it is quite real as it is projected through your perception.

JOHN: That I must be doing something.

ELIAS: And therefore, what are you denying yourself in your choices?

JOHN: Relaxation.

ELIAS: And appreciation of your time framework and your interaction with yourself. You are creating the physical aspect, the appearance of relaxation. You are creating the appearance of offering yourself permission to be concentrating upon you, when in actuality this is a camouflage. For within you, you are continuing your expectations upon yourself, and therefore you create this feeling, so to speak.

Now; you may easily alter that expression, Rrussell. For as you allow yourself this time framework in which you are not incorporating your work, so to speak, allow yourself to be paying attention to you in your exploration. Allow yourself to objectively appreciate what you are creating in each moment.

You are continuously creating, my friend. This is not to say that you may be producing a thing, but you are creating. Even within your physical movement of walking within your streets, you are creating. You are observing. You are offering yourself input, information, and you may be paying attention to what you are creating and allow yourself an appreciation of your creation and merely of your being.

JOHN: I feel split sometimes. Thereís many different dialogs that Iím carrying on all at once, and pulling them together and picking one or picking a composite, how do I ... do you know what I mean? (Laughing, and Elias nods) Iím bad at expressing it. Itís confusing sometimes, walking down this road for the umpteen, I donít know how many ... I could probably count them if I tried, the dialogs. It gets confusing.

ELIAS: Very well. Incorporate one experience of walking upon one street, and you may view this as an example. For in this experience, allow yourself to recognize an identification of what you are actually engaging. As you state, you create many expressions within your thoughts. In a manner of speaking, within yourself you are creating many conversations. You wish to be choosing one and focusing your attention upon that one, for this appears to you as more organized and more in tune with yourself Ė not necessarily.

In this action of walking upon your street, allow yourself to be noticing your own direction, what you have chosen as a direction. You may not be necessarily incorporating what you term to be a goal or an outcome, so to speak. You may merely be choosing to be walking. Therefore, this is the direction.

Once you have identified your direction, allow yourself to be paying attention to all of your communications. Your communications, as you are aware, are not merely your thoughts. But you are offering yourself many expressions and avenues of communication in this small example of merely incorporating a walk.

This walk may be an adventure. You view, in relation to your beliefs, that you are walking upon a street, you are not creating a productive activity, you are not creating a contribution within your world. I may express to you, you are offering yourself a contribution in your relationship with yourself, allowing yourself to incorporate a time framework in which you may be paying attention to you.

Let me express to you, my friend, many individuals associate with a belief that suggests to themselves that they shall be paying attention to self and exploring their intimate relationship with themselves if they are incorporating aloneness, solitude, and quietness. And I shall express to you, more often than not in those types of situations, you do not pay attention to yourselves, for you are distracted by any type of outside stimulus, and you are not in actuality paying attention to what you are creating.

But as you are multi-faceted, you hold the ability to be receiving and incorporating many avenues of communication simultaneously, and in allowing yourself movement with that expression of yourself as multi-faceted, you may incorporate an action as mundane as a walk upon your street, and you may create a perception that this is a grand adventure. It offers you the opportunity to be listening to all of your communications through your senses, through your emotion, and to be interpreting your communications within your thoughts. You offer yourself the opportunity to be observing and interactive with other individuals and noticing your responses, paying attention to all that is occurring within your reality.

It is unnecessary to be focusing your attention in one single direction. Therefore, if you allow yourself to be drinking in the fullness of your experience and all of its communications, you may also discontinue your conflict in attempting to choose one single...

JOHN: Oh, all right. I do that, sometimes. Itís not always so easy for me to break down my experience and describe it in such a fashion.

ELIAS: And this may be your adventure, which shall allow you to direct your attention in a different manner, and therefore you shall not concern yourself with your productivity. And in this, you shall allow yourself more of an appreciation of what you are creating and of yourself, and not be discounting of yourself and therefore not create the expression of lethargy.

JOHN: Because itíll be more interesting.

ELIAS: Quite.

JOHN: Thank you; interesting.

ELIAS: For within your energy, you create a continuous pace, so to speak, of movement, and as you create a perception that you are not moving in that particular pace, you become restless and you discount yourself. This creates the feeling of being lethargic.

Whereas, if you are allowing yourself to be paying attention to all that you are experiencing and creating, you create the adventure and this occupies your attention; and as you occupy your attention, you continue to create curious avenues, explorations, and you offer yourself the satisfaction of the pace of energy that is familiar to you.

JOHN: But thereís a pace of energy that Iíve become familiar with, that of my walk or whatever?

ELIAS: In a manner of speaking, yes.

JOHN: What is rate or pace defined by?

ELIAS: A movement of energy, in similar manner to what you may view as a blood flow within your physical body, which is motivated by the pumping of your heart organ. This creates a particular rhythm, a particular pace of energy, so to speak, within your physical body.

You also, within your expression of energy in its entirety, create a rhythm that is familiar to you. It is a particular quality of energy, and you have become familiar with your rhythm. That rhythm is expressed objectively in movement, in occupying your attention. You express this in your workplace. If you are not creating enough stimulus to satisfy your curiosity and your creativity, you experience your rhythm slowing, and this creates within you frustration or boredom. Therefore, you attempt to be creating an increase in your movement, in your pace of your energy.

Now; this rhythm, this pace, may be satisfied in many manners. It is not merely satisfied in physical production, so to speak, of work or in creating manifestations. You may satisfy that rhythm by allowing yourself to occupy your attention in a natural flow, incorporating several avenues of communication simultaneously, rather than attempting to focus your attention upon one activity or avenue.

JOHN: You mentioned earlier, I forget which session ... do you remember, the session where I was in the phone box, and we were talking about my waking up in the morning and offering an opportunity for myself to be with myself, but that Iíve created a very structured sort of focus, and this throws me a loop or something along this line, I suppose.

ELIAS: Correct.

JOHN: Right, so this is quite in line with what youíre talking about.

ELIAS: Correct.

JOHN: This is the structure, right?

ELIAS: Yes. In this, as you allow yourself to genuinely relax and focus your attention upon you and appreciate you, appreciate your movement even in your walking, you offer yourself an adequate expression of stimulus and communication.

You, my friend, in that structure have created a perception that there are merely certain activities that may be deemed as satisfactory to this particular expression of excitement, so to speak, or accomplishment, stimulus. There are many expressions that you may allow yourself that type of satisfaction without incorporating the narrowness of the structure.

JOHN: Interesting. This is also what you were talking about last time. I donít remember what you said, but I just remember the ladders going back and forth ... (laughing) maybe what Iím thinking of in this picture has nothing to do with the words of what you were saying, but I remembered it as this pictured to me ... it had to do with work. I donít know if itís connected actually, but thatís my picture of it.

ELIAS: Do not be discounting of your imagery. Allow yourself, in this moment now also, to relax your energy.

Rrussell, relax your energy. Offer to me, presently, your hands. (Gently and softly) Very well, my friend. Allow yourself to relax. Begin with your head. With myself in this exercise presently, close your eyes. Now visualize a faint, translucent, but almost white aura appearing above your head. As it grows, it shall move downward around your head, over your eyes, over your shoulders, and as it moves, each aspect of your body is allowed to release tension and relax. Allow your shoulders ... very good, my friend. Now allow your arms to be loosened. Feel within your chest a relaxation, an ease in your breath. Your breathing is a comfort, not a struggle. Move this translucent white energy around in a swirling motion to your abdomen, your solar plexus. Allow the tension to be released. Your stomach area is not holding to that tension and energy. Allow your physical legs to fall free and relax, and your feet to be comfortable and to relax. Ah. Now you may look to me.

Now; in this expression Ė (firmly) and do not be regaining the tension, for I recognize already that you are pulling to yourself once again the tension Ė allow yourself calm. (Gently) You and I are one together in this moment. There is no other expression. Allow yourself, in this relaxation. Concentrate upon the expression of Michaelís eyes which express my energy. View the oneness in the calm. In this my friend, allow yourself to express your imagery, your visualization, for it is your creation and it is significant. (Pause)

Without movement, without reincorporating the tension, easily express to me the description of your imagery, your visualization, your ladder.

JOHN: The ladder has something to do with an old board game one plays. There are birds, and thereís sort of clouds at the top. Itís sort of generally cloudy, but itís also sort of sunny there. Where weíre lying on the ladder, itís sunny. Itís so long, and itís just so ... thereís no frame of reference, thereís no up or down, itís just sort of ... itís too big. Thereís no frame of reference, but it resembles a ladder, in that itís a ladder-looking sort of thing. Itís a gold color, almost cartoon-ish in color and the way it looks, and thereís birds, bluebirds, flying around. I suppose I can extrapolate and say thereís several series of ladders. Iím only looking at two for some reason, but...

ELIAS: They expand outwardly, and you view intermittently the expression of the small beds.

JOHN: Small beds? Yes!

ELIAS: And they float.

JOHN: Small beds ... small beds! Okay.

ELIAS: Now; you view yourself to be engaging this ladder or climbing this ladder, but you view it to be expressed with no end. This is significant imagery, my friend, for you view your placement upon this ladder in brightness. You view other aspects of the ladder as hazy or as covered, in which you may not view the destination of the ladder for it is covered with the clouds.

The significance of this imagery is your communication to yourself, my friend, in your assimilation of our interactions and the information that has been presented to you. For, it is not a movement of up or down. It is not a movement of levels, and this be the reason that you have incorporated the imagery of the ladder, which is suggestive of levels.

But you also view that there are many ladders, as you allow yourself to view and incorporate your periphery. This is also significant. You offer to yourself a visual image of your movement of widening your awareness, recognizing that there are some aspects of your reality that may be incorporated slightly hazily in this time framework. But where you view yourself, there is clarity and there is light, and as you allow yourself to open to your periphery, you view that the ladders expand outwardly, sideways. They merely expand. This is you and your movement, my friend.

At times, you view yourself in the narrowness of your structure, and therefore you view merely one ladder or perhaps two: one which is designated as your objective reality, which incorporates the ďshouldsĒ and the structure, and perhaps alongside of that another that views the wants and more of an expression of freedom, which is a slight expansion of your awareness, allowing you to view more than merely the structure; and at times, you allow yourself this view of the many ladders, all that may be perceived by yourself in your reality.

Let me be acknowledging of you greatly in this very moment, my friend, in your allowance of yourself to continue your relaxation, for I hold a great awareness of you individually that this is accomplished with great difficulty within your expression, and may be quite challenging to you in allowing yourself to practice with this action. Holding your attention tightly and creating this tension within your energy also creates confusion within your thoughts, and it creates a narrowness in your direction. It creates almost an expression of panic and anxiety within you.

But as you allow yourself to appreciate your being, it is greatly worthy of your appreciation and you relax your energy, as you are allowing yourself now. You may also allow yourself to view the folly of this tension, and how it creates this very structure and expectation.

JOHN: This sort of relaxation I might be able to hold walking down the road or waking up or throughout my day.

ELIAS: Yes. Allow yourself to draw upon this experience, my friend, and objectively be remembering. Therefore, you may practice and continue this type of exercise until the point that it becomes familiar to you, and therefore you need not be expressing such directedness in your practicing. You may merely allow a flow, yes.

JOHN: What are the beds?

ELIAS: I may express to you, this is your imagery, my friend, of comfort. Therefore, you allow the floating of this particular image intermittently within your image to be reminding you that you do incorporate the ability to be expressing comfort within yourself if you allow yourself. You need not be continuously struggling and climbing. You are not attaining to. You are merely allowing yourself an opening, a widening of your awareness in appreciation of yourself, and therefore allowing yourself to create an acceptance. This shall open many avenues to you.

JOHN: Where do the ladders go?

ELIAS: They do not reach a destination.

JOHN: No, they sort of go away. They donít last, theyíre not...

ELIAS: You need not be incorporating the visualization continuously. You incorporate the visualization as a reminder of your awareness, of your movement, of your expansion, of opening to your periphery, incorporating your own expression of comfort, and a reminder to you that you are not attaining to a goal. You are not moving in levels. You need not be struggling in your upward movement. You may merely allow yourself to view yourself in the position that you occupy upon your ladder and view outwardly the periphery.

JOHN: I may get a lot of images or visuals like that, and I never quite allow myself to see all the details and focus in and watch everything. I need to be relaxed before I can do that.

ELIAS: For that is the expression of your tension, which directs your attention and focus into a narrow stream. As you allow yourself to relax your energy, you also open more fully in your viewing. You allow yourself to incorporate your periphery.

JOHN: Two quick bits Ė maybe they fall together, maybe they donít. But one of the factors you mentioned last time had to do with where there was work ... well, that went probably with the imagery there, right. We talked about relations, and we talked about something else. I had described this desire to be seen, which you said weíd cut out of the discussion for now, because itís slightly more underlying, or I think that was the word you used. So I want to question you about that, which we didnít discuss last time.

ELIAS: Very well. And I may express to you that this moves in relation to our discussion this day. For you do incorporate a desire to be genuinely seen and viewed or known in your perception by other individuals and by yourself.

This becomes an issue within you, for you create this tension within your energy and that creates also a camouflage. You project a type of energy which is a camouflage of yourself. Your desire is to discontinue this shield that you are projecting and allow an openness that other individuals may view you in your genuine expression of energy, not the camouflage.

Now; I may also express to you, my friend, there is an incorporation of fear in dropping that shield. For you have incorporated much practice in discounting of yourself, and in that practicing of discounting, you have also created a very strong perception within your reality that other individuals may not appreciate what they view if you are allowing them to view you without the camouflage, that you may not be acceptable to other individuals for you are not sure of your acceptability within yourself. Therefore, shudder to view another individualís perception of you!

Now; I am quite understanding of the challenge that you set before yourself in allowing yourself to dissipate the camouflage and to be allowing that openness, recognizing the fear. But your desire is also strong. You do hold a desire to be interactive with other individuals and to be creating relationships with other individuals.

In this, as you continue to practice with this exercise of relaxing your energy, you shall also automatically create a by-product which shall dissipate this shield.

JOHN: Yes, I recognize that.

ELIAS: And therefore, you may begin to allow yourself the expression of what you want in being seen.

JOHN: It takes a lot of time! (Laughs)

ELIAS: Not necessarily. This is your choice. You may be allowing yourself to be practicing and noticing and genuinely recognizing your ability to be creating this type of expression, and as you practice, your time framework may become insignificant. Time is an element of your perception, also.

JOHN: Quite. Tying that into my intent, which turned into a bit of small joke last time, I tried to say what it was, and I wanted to come up with a more ... not this clunky way of saying it. And you laughed, and I sort of laughed and said I think I just answered my own question. In another session, you said I do not appreciate the fullness of my intent, and I donít think I have, so maybe if youíve got a few words?

ELIAS: And identify, once again, your impression. First, stop! (Pause)

JOHN: I see ... I donít want to use the word illuminated, not illuminated but more sort of ďalightĒ or like a light bulb, itís illuminated sort of high in the sky, almost outer space, and thereíre two hands outstretched on either side, and thereís sort of dancing around and laughing, and itís like this big ... itís like a sun, itís like a big ball sun, sort of throwing it up in the air and catching it and sort of dancing about, making merry.

ELIAS: And the identification of your intent in this focus, which is quite wonderfully expressed in your impression and your visualization that you have offered, is to be exploring within your focus the movement almost in extremes of what an individual may create in singularity and what you may term to be almost a closedness of their energy field and their perception into the openness and the fullness of incorporating your periphery.

In a manner of speaking, what you are exploring in this particular focus is a movement in similar expression to a flower. You are exploring the creation of incorporating the initial expression of the tightness and the closure of the bud and its emergence as layers of the bud begin to open and flower, and in that expression allowing yourself to experience this type of movement of creating this expansion, this opening, this flowering.

Even within this exercise, you are exploring another avenue of moving from the tightness of the bud to the openness and the relaxing of the layers of the petals. Are you understanding?

JOHN: Yes. Right, so how does it translate to ... okay. That makes sense. Where does the creating of fun come into play?

ELIAS: Ah, my friend!

JOHN: Or is that crazy? Previously it was balancing subjective and objective, displaying it and be creating of fun, which youíd okayed.

ELIAS: And in this...

JOHN: But this imagery youíre talking about is much more deep.

ELIAS: As you open the layers of the bud and create the appreciation, you shall create the fun, the playfulness.

I may express to you, visualize the movement of a flower. In the expression of the bud upon the shrub, as the wind blows there is much more rigidness in the movement of the bud. It sways little, for it is concentrated, its energy held tight to itself. As the bud opens and the layers are expressed outward, as the breeze blows there is much playfulness. There is much movement.

JOHN: But doesnít that have something to do with me, and then thereís the outside world and how the outside world is interacting with me?

ELIAS: I may express to you my friend, the outside world in your terms shall interact with you in the manner that you create them to. (John laughs) If you are playful and expressing an openness and a relaxation of your energy, you shall also create that in your interaction with the outside world, and you shall draw that to yourself; and if you are expressing tension and tightness and closed, you shall also reflect that to yourself through your outside world.

JOHN: Iím supposed to ask you for a riddle.

ELIAS: (Chuckles) I may express to you, we have already discussed the riddle in our discovery and examination of this discussion.

JOHN: One really tiny question that I just want to ask ... particularly the guitar player, is there any particular connection there? Why do I feel a connection to this particular musician?

ELIAS: What is your impression, first of all?

JOHN: Another focus of mine.

ELIAS: This is not your impression. This is your guess!

JOHN: (Laughs) Okay. Thereís some sort of exchange; I donít know.

ELIAS: You are correct. There is a recognition of a similar tone of energy expressed in an allowance of that individualís creativity, and the recognition of your lack of allowance. You view the personality type; you view yourself. You view this individual as allowing an expression that you wish to be expressing. Therefore, you draw that energy to yourself in an expression of encouragement.

I may express to you a counterpart action occurring.

JOHN: Interesting. Okay, I think weíve gone over on time.

ELIAS: Very well. I express to you, my friend, continue your practicing. Begin this day and allow yourself that openness. Be reminding yourself of the many ladders that expand outward. They are all yours.

I shall anticipate our next meeting, and I shall continue to offer encouraging energy to you in the interim. As always, I express great affection to you.

JOHN: Likewise.

ELIAS: And I shall be offering gentle calm energy to you to be helpful in your challenge. Shall you receive?

JOHN: Yes.

ELIAS: Very well. To you this day, au revoir.

JOHN: Au revoir.

Elias departs at 3:47 PM.


(1) John is referring to staying in New York.

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