Session 2501


"Carmen and Carmina"

Sunday, April 27, 2008 (Private/Phone)

Participants: Mary (Michael) and Jim S. (Bevan)

ELIAS: Good afternoon!

JIM: Well, good afternoon, Elias. Good to talk to you again.

ELIAS: And you, also.

JIM: I’ve got a few questions for you today.

ELIAS: Very well.

JIM: Shall I proceed with them?

ELIAS: You may.

JIM: I’ve been thinking about how Ottorini Respighi’s fascination with Belkis, Queen of Sheba, probably stemmed from a resonance with energy projected by Tanish who was so hopelessly in love with her. Was that indeed the case?

ELIAS: Yes.

JIM: It was. It occurs to me that Leo Delibes may have held a similar fascination with Lakmé for a similar reason. Are Lakmé’s lover and Leo Delibes focuses of the same essence?

ELIAS: Yes.

JIM: They are. I’m getting the name, Hassan, associated with Lakmé somehow. Is Hassan a reasonable translation for her lover’s essence name?

ELIAS: Yes.

JIM: Does Delibes align Sumari, soft orientation and emotional focus?

ELIAS: Yes.

JIM: Does Gérald, Lakmé’s lover, align Sumari, common orientation and political focus?

ELIAS: Yes.

JIM: Parts of Carl Orff’s “Carmina Burana” ran in the back of my mind for quite a while recently and I couldn’t seem to dislodge them until I prepared this question. Obviously I was trying to tell myself something. Am I either creating or observing essence of Carl Orff? I suspect observing.

ELIAS: Yes, you are correct.

JIM: Until I looked it up recently, I thought the CD that I have was a performance of Orff’s “Carmen Burana” somehow ignoring the fact that it was clearly labeled “Carmina Burana.” Moreover, I had it in my mind that the name, “Carmen Burana” was that of an individual, a man that I associated somehow with Catholic Church history in an inquisitional sort of way. I now find that the title, “Carmina Burana” names a collection of songs. I assume that there is some reason behind my confusion. Can you help me with that?

ELIAS: You are associating with an individual that did participate in the inquisition that incorporated a fascination for a similar type of music.

JIM: Ah! (enlightened). So maybe I should investigate that. Right?

ELIAS: You can. (both chuckle)

JIM: Alright. Another time. Relative to that Carmen/Carmina mixup, do I have a focus named Carmen by any chance? I feel that I do.

ELIAS: Yes.

JIM: I do?

ELIAS: Yes.

JIM: Once I considered the possibility that “Carmen” was a focus name, I began to wonder if that focus could have served as a model for the “Carmen” of George Bizet’s opera. Is that possible?

ELIAS: Yes.

JIM: I think my association of “Carmina Burana” with her goes beyond the similarity of names. Orff’s music feels to me to be a depiction of a mixture of licentiousness, piety and love, and I feel that Carmen exhibits these characteristics in her life. Am I right?

ELIAS: Yes, you are correct.

JIM: Is her surname Velasco? That’s what I’m getting for her.

ELIAS: Yes.

JIM: It is. I’m getting her as aligned Vold, soft orientation and emotional focus. Is that fairly accurate?

ELIAS: Yes.

JIM: Did she live in the early 1600s?

ELIAS: Yes.

JIM: In Valencia, Spain?

ELIAS: Correct.

JIM: I’m getting the essence name, Donita, for the music teacher to whom I donated copies of Marina Tarasova’s CDs. Do I have that essence name right?

ELIAS: Yes.

JIM: She is. She aligns Sumari, common orientation and emotional focus?

ELIAS: Yes.

JIM: I’m trying to understand this episode. My donation was not solicited. I simply had the impulse to order Marina’s CDs for the local high school music department. When I looked for a supplier, the first supplier that I checked had all three of Marina’s CDs neatly arrayed on one web page making ordering easy. It’s not easy to accept that I created that set-up, but I did, didn’t I?

ELIAS: Yes, you did. (chuckles)

JIM: Did I prompt myself to do this in order to interact with the music teacher at the high school? I had never met her and, at the time I placed the order, I didn’t even know her name.

ELIAS: Yes.

JIM: Am I right in thinking that this sort of action is quite different from the action of drawing a person into my experience as a reflection of an aspect of my self?

ELIAS: That it is different?

JIM: Yeah.

ELIAS: In what capacity?

JIM: Well, I really… I didn’t draw the person to me. I kind of reached out, I think. Does that make [a difference?] that way or not?

ELIAS: Objectively that is how it appears, but it is the same action.

JIM: Ah! Okay (drawn out). Alright.

ELIAS: It may appear that you are approaching another individual, for you are, in your terms, reaching out to another individual, but it is the same. You are drawing them to you regardless of what the action entails.

JIM: Like drawing their energy.

ELIAS: Yes, or you would not encounter them.

JIM: Right. Okay. I believe that I may be noticing a thinning of the veil of separation that I have created for myself. The change that I have noticed is that I no longer perceive the image of Maria Inez Montoya that I see behind me as being stationary in shades of gray. Now I perceive her as dancing, a slow motion flamenco dance, and I have apparently added faint colors to her garments. Is this change evidence of veil thinning as I perceive it or is something else involved?

ELIAS: Yes, you are correct.

JIM: It is a thinning of the veil.

ELIAS: Yes.

JIM: I do not perceive Maria’s flamenco dance partner but he must be there. Is there a reason that I am excluding him?

ELIAS: For that is not as important to you.

JIM: Okay. That’s true.

ELIAS: (laughs)

JIM: Alright. Where is the perfume smell coming from? I sometimes sense it at night while I’m reading. It’s not my wife’s perfume, since I sense it when she is not present. Is the source another focus of mine?

ELIAS: No (with rising inflection)

JIM: No?

ELIAS: No. (again with rising inflection)

JIM: Alright, I didn’t get that. N-O N-O, no?

ELIAS: Correct.

JIM: No. Alright.

ELIAS: Can you offer another impression?

JIM: Well, I have an impression of a focus which I associate with that, but I’m… well, let me go through these questions. Maybe I am off on that. Let’s try this. One name that I’m getting is Miriam Hopkins. Is that the name? Do I have a focus with that name.

ELIAS: Yes, you do incorporate a focus with that name.

JIM: Okay. I feel that she is blind and has been blind from birth. Am I right?

ELIAS: Yes, you are correct.

JIM: I get her aligned Tumold. Do I have that right?

ELIAS: Yes.

JIM: Common orientation and emotional focus?

ELIAS: Yes.

JIM: She is very sensitive to smells and sounds and favors the sort of music that I enjoy. Is that a valid assessment?

ELIAS: Yes, you are correct.

JIM: I believe Miriam lives in a past time frame relative to my life. Am I right?

ELIAS: Yes.

JIM: Late 1800s?

ELIAS: Yes.

JIM: I place her in New England, possibly Massachusetts. Is that the right location?

ELIAS: Yes.

JIM: Salem, by any chance?

ELIAS: No, not Salem, but you are correct, Massachusetts.

JIM: Massachusetts. Alright. She lives with her sister, a focus of Liam?

ELIAS: Yes.

JIM: Her sister’s name is Florence?

ELIAS: Yes, you are correct.

JIM: Florence aligns Tumold, intermediate orientation and emotional focus?

ELIAS: Yes.

JIM: Miriam aligns Gramada, common orientation, religious focus?

ELIAS: Yes.

JIM: For some reason, I picked up the name Jocelyn Macintyre associated with scent also. Is that a valid association…well is that not a valid association? Is that true?

ELIAS: Yes.

JIM: Okay, well I… Is Jocelyn Macintyre a focus of mine?

ELIAS: Yes.

JIM: Okay. She aligns Vold?

ELIAS: Correct.

JIM: Common orientation and political focus?

ELIAS: Correct.

JIM: Associated with Joscelyn, I’m getting the name, Ernesto LaFarge. Is that a valid association?

ELIAS: Yes.

JIM: Aside from being lovers, they have evolved an embezzlement scheme that they work together?

ELIAS: Yes, you are correct.

JIM: I’m not clear on location. I’m getting New York, Paris and London with New York and Paris primary. Is that anywhere near right?

ELIAS: They are all correct.

JIM: All correct. They are future in my terms, but in this century?

ELIAS: Yes.

JIM: Ernesto is a focus of Liam?

ELIAS: Yes.

JIM: He aligns Tumold?

ELIAS: Correct.

JIM: Soft orientation and emotional focus?

ELIAS: Correct.

JIM: He is a musician and travels with a group?

ELIAS: Yes.

JIM: Jocelyn is their female singer?

ELIAS: Yes.

JIM: I’m getting the name, Merkin, M-E-R-K-I-N, instead of Merkit for my Episcopalian minister focus. Am I right?

ELIAS: Yes, you are.

JIM: Am I. Maybe I’ve got it spelled right. I’m also getting Veronika Dudarova as a focus of Hardy. Do I have that right?

ELIAS: Yes.

JIM: She aligns Vold, soft orientation and emotional focus?

ELIAS: Yes.

JIM: I feel that she and Marina Tarasova are close friends. Am I right?

ELIAS: Yes.

JIM: On the CD I recently purchased, the rendition of Fauré’s “Pavane” is by full orchestra and chorus. When the Pavane is running through the back of my mind, I hear it as a flute duet, and associated with that duet is a strong emotional yearning, a mixture of overwhelming love and sadness. I believe that I am tapping into energy from another focus of Bevan. Am I?

ELIAS: Yes.

JIM: I believe that this focus is homosexual and that his feeling of love is directed to the other flutist in the duet, an older man who is his teacher and who is dying. Do I have that right?

ELIAS: Yes, you are correct.

JIM: My focus’s name is Hiram Ashley?

ELIAS: Yes.

JIM: Was it my anti-homosexual bias that made me reluctant to engage the energy of this focus or was it that I feel that expression of love that this focus holds might be overwhelming?

ELIAS: It was the latter.

JIM: The latter. I seem to have the name, Royal Oak, associated with Hiram. Is that a valid association?

ELIAS: Yes.

JIM: Would that be Royal Oak, Michigan?

ELIAS: Yes.

JIM: I believe that might be where Hiram lives in that time frame that I’m picking him up. Is it?

ELIAS: Yes, you are correct.

JIM: Is the time frame early 1900s?

ELIAS: Yes.

JIM: Hiram aligns Sumari, soft orientation and emotional focus?

ELIAS: Yes.

JIM: Is Hiram the source of my emotional reaction to Fauré’s “Pavane” or do I have another focus perhaps associated in some way with Fauré himself who might be projecting that emotional energy?

ELIAS: It would be this focus.

JIM: It would be that focus. Okay. Hiram’s teacher’s name is Bertram Leighton, L-E-I-G-H-T-O-N?

ELIAS: Yes.

JIM: He is a focus of Alliare?

ELIAS: Correct.

JIM: He teaches flute and other instruments?

ELIAS: Yes.

JIM: This is in Detroit?

ELIAS: Yes.

JIM: He held the first flute chair with the Detroit Symphony Orchestra for a time, didn’t he?

ELIAS: Brief.

JIM: Brief. Bertram aligns Sumari, soft orientation and emotional focus?

ELIAS: Yes.

JIM: He is dying of cancer, I believe liver cancer?

ELIAS: Correct.

JIM: Hiram attempts or commits suicide when Bertram dies?

ELIAS: Yes.

JIM: Did he attempt or was he successful?

ELIAS: He was successful.

JIM: He was successful. Do I have Gabriel Fauré’s essence name in my database?

ELIAS: Yes.

JIM: I do. Is he a focus of Langley?

ELIAS: Yes.

JIM: He is. I guess that’s a wild one. I purchased a 2-CD set of Ravel’s orchestral works and then was unhappy when the performances did not feel magical to me in the way that I remembered of the two LP records of the same music that I once enjoyed. I’m not sure what I’m trying to tell myself with this. I know it has to do with preferences, but feel that more may be involved. Can you help me understand why I called my attention to this?

ELIAS: You are correct. It partially is associated with preferences, and changing preferences, but also as you have engaged the investigation of many of your focuses and many of which are associated with musical compositions, that also ties into this experience in how you respond to certain compositions of music. You respond not merely in appreciation of the music but you also now are responding more so in an emotional appreciation of the individuals connected with it.

JIM: Ah! Okay, yes. Very good. Do essence family membership, alignment and other personality characteristics still apply in the far future time frame in which Chrz lives?

ELIAS: Yes.

JIM: They do?

ELIAS: Yes.

JIM: I’m getting Chrz associated with essence Alliare, yet I’m also getting the impression that he is a focus of an essence whose identity tone translates approximately as Chrz. What’s going on there?

ELIAS: What you are tapping into is the presence of an observing essence.

JIM: Ah! Okay. Alliare is observing?

ELIAS: Yes, you are correct.

JIM: Okay. I get Chrz belonging Gramada, aligning Milument, common orientation and thought focused. Do I have that right?

ELIAS: Yes.

JIM: Alright. In writing my stories, I have a strong aversion to starting a paragraph with the first person singular pronoun, “I”. Unless the “I” is inside quotes, I reach for a convoluted lead-in rather than use the “I” pronoun. I’m sure this is significant in terms of limiting beliefs and I’m curious as to their nature. I can see a number of possibilities for why I attempt to avoid personal association, but I would prefer your assessment of this avoidance.

ELIAS: And what is your assessment?

JIM: Well, I think I’m… ducking responsibility there.

ELIAS: I would not necessarily agree.

JIM: No?

ELIAS: I would express that it’s more so the association of appearing to be arrogant.

JIM: Oh! Oh! [enlightened] [Unintellible comment] Arrogant. I certainly don’t feel arrogant, but yet I guess it’s possible.

ELIAS: And not allowing yourself that freedom, restricting yourself and not wanting to appear presumptuous.

JIM: Ah! Okay.

ELIAS: Of which it is neither.

JIM: [chuckles] Yeah, I suppose that’s true.

ELIAS: [laughs]

JIM: Alright, now, related to my previous question, when I think of doing or saying something prior to the doing or saying of it, I think in terms of “we” rather than “I”. Is this my way of ducking responsibility or is there something else involved?

ELIAS: No, it would not be associated with responsibility either. This would be more associated with your expanded view and awareness of your self.

JIM: Ah! Okay.

ELIAS: And the only…

JIM: [interrupts] When I say “we” I’m talking about me and my other focuses of Bevan, right?

ELIAS: Yes! You as plural, for you are!

JIM: That’s true.

ELIAS: [Chuckles]

JIM: That’s true. Okay. Very good. It occurs to me that when a person says or thinks “I hope…something” that what they are expressing is self-doubt. Would you care to comment on that?

ELIAS: I would agree.

JIM: You would agree.

ELIAS: Yes. There are questions…

JIM: [Interupts] When I am typing a story or letter or writing questions for you, quite often I leave off the ending letters of words or add an ending letter that creates a different word. What is going on there?

ELIAS: And what is your impression.

JIM: [laughs] I’m not sure I have one. I can’t really explain it, except that my fingers get tangled up.

ELIAS: [laughs] It is in actuality a manifestation of excitement.

JIM: Ah, okay.

ELIAS: When you are composing your questions, you are generating excitement and your thinking is moving somewhat independent of your hand.

JIM: Ah. Okay. Yes.

ELIAS: [chuckles]

JIM: I understand that for sure. Alright, let’s go on to the ghost story. Does the ghost story that I wrote have any basis to actual events in some dimension as some of my other stories seem to have?

ELIAS: Yes.

JIM: It does. How close am I to describing those events?

ELIAS: Fairly close.

JIM: Fairly close. Alright. That’s the first ghost story I ever tried to write.

ELIAS: [Laughs]

JIM: Related to that, from what I’ve read in Seth, it seems possible that, in writing a story, I am creating events in other dimensions. Am I?

ELIAS: In a manner of speaking, but this can become tricky.

JIM: Ah.

ELIAS: For it could be easily distorted. In a manner of speaking, yes, for you are participating in another reality and therefore you are creating events, but you are also participating in this reality and tapping into what you are doing in the other.

JIM: Okay.

ELIAS: Therefore it is not the writing that creates the event or what is occurring in the other dimension, but, yes, you are creating them for it is another you or another focus of you in the other dimension and what you are doing is tapping into what you are doing in that dimension and translating into this dimension into a story.

JIM: Beautiful! Beautiful! That’s what I want.

ELIAS: [Laughs]

JIM: Very good. When I asked you if John Witherspoon was influential in Marina Tarasova’s choice to take up the cello, you caught me up saying that John did not influence Marina, but that Marina made the choice, drawing upon John’s energy to enhance that choice. You have many times used the word “influential” without making that distinction. If I understand correctly, when you say influential, you are saying, for example, that one focus holds a certain energy configuration that another focus finds attractive and therefore draws that energy configuration to translate in terms understandable to it.

ELIAS: Yes.

JIM: Is that what you mean by one focus influencing another?

ELIAS: Yes, you are correct.

JIM: Okay. Very good. For some reason, the name Jean Martineau popped into my mind and won’t go away. I find that Martineau is a fairly common surname and there is an encyclopedia mention of a Jean Martineau in Canada, but my association is with Bordeaux, France, and with a partner or wife named Manette or Monette. That’s all I seem to be able to be getting about this man. Can you help me there?

ELIAS: [chuckles] That would be another focus of you.

JIM: Another focus. I suspected that was the case, but I’m not getting much from him.

ELIAS: But, I incorporate no doubt that you will.

JIM: [chuckles] Okay. Trying for a time frame… 1700s?

ELIAS: Yes.

JIM: It is 1700s?

ELIAS: Yes.

JIM: And Bordeaux where he’s something to do with shipping?

ELIAS: Yes.

JIM: It is shipping. Is he a sailor?

ELIAS: No.

JIM: He’s not a sailor. So, it’s something to do with shipping. Okay. Well, I’ll dig into that one a bit.

ELIAS: [chuckles]

JIM: You said that Madigan, son of Consuela Lopez, is not a focus of Yevette. Do I have his essence name in my database?

ELIAS: Yes,

JIM: Is he a focus of Anna?

ELIAS: Yes.

JIM: He is? [startled] I’m surprised at that. Alright. Very good. Does he belong Borledim? Oh, wait a minute. Anna, no. Is it… Okay, never mind. You said that Beyonce Knowles is not a focus of Yevette either. Do I have her essence name in my database?

ELIAS: Yes.

JIM: Did you answer, Elias?

ELIAS: Yes, you are correct.

JIM: Is she a focus of Patmae?

ELIAS: Yes.

JIM: She is! [surprised] Alright. I’m getting Jennifer, the woman who cleans for us, as a focus of Caana. Am I right?

ELIAS: Yes.

JIM: Okay. Does she align Borledim?

ELIAS: Correct.

JIM: Intermediate orientation and political focus?

ELIAS: Yes.

JIM: For some reason, I seem to want to find other focuses of essence Caana. Am I objectively aware of any other Caana focuses besides Oedipus?

ELIAS: Not yet.

JIM: Not yet. [chuckles] In other words, I should go looking.

ELIAS: [laughs]

JIM: You said that my Minnesota Donna is not a focus of Hardy. Do I have her essence name in my database?

ELIAS: Yes.

JIM: Is she a focus of Billeu, B-I-L-L-E-U?

ELIAS: No.

JIM: No. Alright. Have to look further on that. Who should I thank for the squiggly green lines that my visual perception sometimes creates to decorate what I expect to visually perceive?

ELIAS: Lawrence.

JIM: Who?

ELIAS: Lawrence.

JIM: Oh! Lawrence?

ELIAS: Yes.

JIM: Oh, for goodness sakes!

ELIAS: [Laughs]

JIM: It is Vicki’s Lawrence, right?

ELIAS: Yes.

JIM: Well, well, well. My goodness. I feel that the man who cleared snow for us last winter is a focus of Langley. Is he?

ELIAS: Yes.

JIM: What was behind my anger the day that it focused on sheet-changing? I took it out in silent treatment of my wife when the reason was trivial and I knew it. Was it an effect of the energy wave directed to emotion?

ELIAS: Yes.

JIM: Yes?

ELIAS: Yes, you are correct.

JIM: Okay. Why did news of my step-granddaughter’s pregnancy have such an upsetting influence on me? Is this another incidence of emotional wave effect?

ELIAS: Yes.

JIM: Is Chaghatai, second son of Borte/Bevan and Genghis Khan, is he a focus of Sandel?

ELIAS: Yes.

JIM: He is. Alright. Am I observing essence of Kiri Te Kanawa, the soprano?

ELIAS: Yes.

JIM: Is she a focus of Anna, by any chance?

ELIAS: No.

JIM: No. I didn’t really think she was. Align Sumari, soft orientation and emotional focus?

ELIAS: Yes.

JIM: I believe that I peeled off another probable self a while ago. I was obviously creating another heart episode and I could feel that probable self disengage as I sat trying to wait out the episode. Am I right in thinking that’s what happened?

ELIAS: Yes, you are correct.

JIM: As I sat there with my eyes closed, I saw a small glittering circle of light radiating out from a bright central point. Was that my translation of the identity energy of my inner self?

ELIAS: Clarify.

JIM: Well, I saw this…this, with my eyes closed, saw this point of light radiating out like a circle of light. I thought it might be my translation of my energy tone or something like that.

ELIAS: [?] I am understanding. Yes.

JIM: Yes. Alright. For a while, I managed to create a sore tip of my left big toe and a sore tip of my right thumb in conjunction with a persistent itch halfway between. If there’s a message, I’m not getting it. Have I missed something?

ELIAS: [chuckles] The message is to pay attention to playfulness.

JIM: Ah, okay [chuckling]. Alright. I think that I am challenging my beliefs about obesity in the fat that I’ve added to my body form image. While not really obese, I’ve put on a lot of weight. Am I right in thinking that this is a challenge to my beliefs and preferences regarding overweight individuals?

ELIAS: Yes.

JIM: The concept of mystic or magic seems special to me even if I can’t define it. In particular, some musical interpretations seem that way to me and I find that no other interpretation is satisfying. The mystical feeling isn’t limited to music although I experience it most often when listening to music. Why do I feel that some concepts are mystic and others are not?

ELIAS: For some expressions can be explained or translated into words and some can not.

JIM: Ah! Okay. Yes, that makes sense. Alright. Anjuli and I wonder if my final focus, Senta Willings, knows of her singer focus, megastar Julien LaGrande. It seems possible that the time frames of their lives might coincide.

ELIAS: Yes, you are correct.

JIM: They do coincide? And is Senta aware of Julien?

ELIAS: Yes.

JIM: Yes. Very good. Anjuli will enjoy hearing that. Now. I had the delightful thought that you might consider meeting me when I disengage. Can I hope that you will do that, perhaps in the form of a leprechaun with a hogshead of spirits to share?

ELIAS: [Laughs uproariously] Very well. I can honor this request. [Both laugh]

JIM: That would be great, Elias. That’s all I have.

ELIAS: Very well. And once again, my dear friend, I express great acknowledgement of you in your treasure hunt.

JIM: Yes and thank you very much for all your help and advice.

ELIAS: You are very welcome as always and I will respond to your one question of the fragrance that you did not attempt an impression at and you may be assured that this is my expression in reminding you of my presence.

JIM: For goodness sakes! Wonderful!

ELIAS: [Laughs] To you, as always, my dear friend, in tremendous lovingness, and in great appreciation, au revoir.

JIM: Au revoir.