Potpourri
Topics:
"Potpourri"
Sunday, February 17, 2002 (Private)
Participants: Mary (Michael), Ben (Albert), Jim (Andrel) and Frank (X-tian)
(The exchange below is immediately prior to the session, and provides the title — and tone — of this very playful session.)
FRANK: What's the topic? Where are we going? Just anything?
MARY: Do you have to have one?
BEN: It's a potpourri! (Laughter)
MARY: That's such a little gay boy thing to say!
FRANK: Then after that we'll have a soiree!
MARY: Or a ménage à trois!
BEN: Or French toast! Come on, come on!
MARY: (Looking at Frank) Now you have to be good - try!
FRANK: Ready to take off? Lock it in, baby! (Laughter, and more joking)
Elias arrives at 5:49 PM. (Arrival time is 31 seconds.)
ELIAS: Good afternoon!
ALL: Good afternoon! (All laugh)
FRANK: Looked like you had a little trouble locking in there! (Elias laughs)
ELIAS: Welcome to new essence.
JIM: Thank you.
ELIAS: (Chuckles) And how shall we proceed?
BEN: Who can say?
ELIAS: (Laughing) Are we engaging another colorful session?
BEN: Yes, please!
ELIAS: Ah! (Laughs) Offer direction!
BEN: Oh, well, let's get Jim out of the way!
ELIAS: (Chuckles) In what fashion? (Laughter)
BEN: Can you help me kill him? (Laughter)
ELIAS: Is this your choice?
BEN: (Laughing) No, no. We'll let him live. (Elias laughs) Would you mind telling him his vital statistics?
ELIAS: Ah! (Pause) Essence name, Andrel, A-N-D-R-E-L (ANN drell). Essence family, Sumari.
FRANK: Yes! (Frank is Sumari/Sumafi.)
ELIAS: As you may be noticing, you incorporate a cheering section.
FRANK: It's the best family to be in, Jim. (Elias chuckles)
ELIAS: Alignment in this focus, Ilda. Shall you cheer also? (Looking at Ben, who is Sumafi/Ilda) Orientation, common.
BEN: I had this dream on Wednesday, a really good dream, a really vivid dream, where I was walking around this city. I was visiting this city, and the architecture and everything was just so amazing. It was kind of this mixture of being ancient and modern at the same time. It was like Egyptian and Byzantine and everything at the same time. There were sculptures that were medieval Christian and Egyptian at the same time, and there was this Art Deco movie theater that was playing black and white French movies. I picked up my cell phone to call my friend Evan because he was somewhere else in the city, and I wanted to see if it was as exciting where he was as it was for me.
To me, the interesting thing was how vivid it was. I was in awe from just being there and looking around. Do you have any more comments about that?
ELIAS: Offer your impression.
BEN: Well, in talking about it, the first thing I thought of - medieval Christian and Egyptian - was oh, that's like chapter focuses, the shift chapters. It's The City, it's the past, it's the present, it's everything at the same time. To me, the most interesting thing about it was just being there and how cool it looked. It wasn't that anything happened, it was just about being there.
ELIAS: Very well. I shall offer you interpretation, which in actuality is not associated with what is identified as the dream City or that of the future City. In actuality you are merely presenting to yourself imagery within your dream state concerning clarity, allowing yourself to view and appreciate the viewing of your reality as you create it with clarity, and in this, you also motivate yourself objectively to be attentive to what you are creating within your objective reality and allow yourself to experience this type of clarity in what you generate objectively.
BEN: Is that something that's happened since or something that's going to happen, this clarity in waking life?
ELIAS: This is what you are moving into in widening your awareness. You have offered yourself dream imagery to be experiencing an aspect of clarity that you may also translate in objective imagery.
Many times individuals are not aware of some of their choices in experience if they have not generated the actual experience previously. At times individuals offer themselves experiences within dream imagery to be offering themselves information concerning what they may generate in objective imagery.
JIM: I can definitely relate to that.
BEN: You have a question?
JIM: No, I was just drawing a connection to some dreams I've had, one particular one - it was a while back, so I don't remember details too well - but it seemed to incorporate a lot of my thoughts from that day, and a lot of things were really clear. It was all incorporated into this reality. It is tough to explain. I was looking out a window, seeing all kinds of things going on and it was just like "Wow! This is neat!"
ELIAS: This offers you evidence concerning your ability to generate this type of experience within your waking objective imagery.
You become dull to your objective imagery, for it becomes so very familiar to you that you do not pay attention in clarity to what you are generating. This is in actuality significant that you offer yourselves these types of experiences, for it heightens your awareness to what you hold the ability to generate, and therefore become more intimately familiar with what you hold as potential.
BEN: I just have to point out, I'm starting to get a headache now. (Elias chuckles)
ELIAS: And this is your choice!
BEN: Yes, I know! The last time I brought this up, you said it was Lawrence. Is that going on now, too, or this is a completely different reason?
ELIAS: Partially.
BEN: But speaking of pains (Elias chuckles), I've been experiencing now this pain in my neck, but I only get it in my sleep. During the day I'm perfectly fine, but I'll go to sleep and I'll wake up with it. To me, any time you get a pain you're trying to get your attention about something, but how am I supposed to know what I'm doing in my sleep? It's pointing out something is going on with me in my sleep versus... I know I'm creating it in the moment or whenever else. It's saying I'm trying to get my attention that I'm sleeping wrong. (Elias nods; slight pause) Your turn!
ELIAS: In offering my suggestion?
BEN: Feel free!
ELIAS: Incorporate less volume in pillows.
BEN: I've been doing that! I've been trying to sleep on my back without any pillows, which seems to make things better, but the desire to roll over on my side keeps waking me up. In fact if it wasn't for this kind of sleep, I wouldn't have remembered that dream that I just told you about before, because I'm sleeping more shallowly. Ideally I'd like to be able to remember my dreams without waking up with a pain in my neck, with or without a pillow!
ELIAS: Ah, but you are incorporating the black and white, Albert! I have not suggested that you incorporate your sleep state with or without a pillow, merely that you incorporate less volume of pillow. For you are correct, you are presenting to yourself the identification of right or wrong - correct or incorrect sleep. (Chuckles)
BEN: Correct - I mean, yes.
ELIAS: (Laughing) Shall you incorporate the responses to questions? Christian, you may engage Albert with your questions. I shall observe! (Laughter)
FRANK: Have we ever had sex together? (Much laughter)
BEN: I can't believe you don't remember!
FRANK: Oscar doesn't remember, either. I think that's why he has the pain in the neck - subjective interaction with Oscar, the Oscar focus!
ELIAS: No. (Laughter, and Elias chuckles)
FRANK: That would be too easy. I had the same thing two days...
BEN: Which side?
FRANK: In the back of my neck. Is there a connection there, in whatever we're doing as far as the pain in the neck? (Laughing) We're both pains in the neck, right?
ELIAS: I may incorporate some playfulness in this interaction! (Chuckling) Perhaps you share a pain in the neck, objectively.
FRANK: Do we? Who do we share? (Much laughter) That would be you! (Indicating at Elias, and continued laughter)
ELIAS: Or perhaps objectively with another physically-focused individual.
FRANK: That we're dealing with?
BEN: Who, Mike? Oh, Mikah!
FRANK: Let's kick his ass! He's getting us back, right, because he's not here today. (Elias laughs) Now we know who to blame!
BEN: To me, it's interesting in this dream that I wanted to call my friend, Evan from work. In all the investigation I've tried to do about focuses, I never had any impressions about being female, but there's something about Evan, talking to him, it's like I'm a girl, or he's a girl, or we're both girls, or we're both drag queens. There's something going on there that I've never really opened myself up to before. I don't know what the relationship is that I'm picking up on.
ELIAS: Another focus, you are correct, and you both incorporate the gender of female.
BEN: Were we sisters?
ELIAS: Relationship of friends.
BEN: This is a time framework of... See, I think everything happens in the 1900s. (Elias chuckles)
ELIAS: Quite a crowded time framework.
BEN: Yes, yes, a lot of clustering of people and things.
FRANK: And there's thousands of Edwards. (Laughter)
BEN: Oh, that's something else I could ask you about. I was having a conversation with Jim here about what exactly does it mean to be a focus of essence. I was just thinking about the fact that I've got these four concurrent focuses and I haven't done much investigation about them.
I know you've talked before about we probably won't connect necessarily with these people, they won't seem like whatever else, but that's what I try to do for myself when I'm reading a book about Lord Alfred Douglas or Joseph Thorak. I'm trying to see what's the theme or the similarity, or what is this essence, by looking in and out at the same time or whatever.
I don't know, I'm just fascinated by the idea that I could actually meet somebody and get an idea about what does essence mean. Is it really a lost cause? It's an interesting idea to meet one of these four people or find out more about one of these four people who are walking around now.
ELIAS: I am understanding your expression of interest merely in relation to the concept. I may also genuinely express to you that the actual expression of interest in actual interaction or the actual potential for interaction, generally speaking, dissipates.
As I have stated previously many times, quite literally it is quite rare that two focuses within one time framework of the same essence shall generate any objective interest in each other or actually choose to be interactive with each other even as they present the knowledge of each other to themselves, which you may be allowing yourself a recognition in relation to merely this forum.
There are several individuals that hold an objective awareness of other individuals that are focuses of their essence in this time framework, which all participate in this forum and they generate no interaction with each other. In this time framework merely one essence that incorporates two focuses that both participate in this forum have chosen to actually be interactive with each other.
BEN: And they know this?
ELIAS: Yes. They have chosen to be interactive with each other, but this is one essence. There are many that are aware of other focuses that they may contact physically and they do not.
This also is another expression that offers evidence to you concerning what I express to you in paying attention to what you choose and what you actually generate, rather than what you THINK your direction may be or what you think you want. For you think you incorporate a fascination in a particular direction, and you may present this to yourself and recognize that in actuality you do not choose to be generating those types of actions.
As I have stated, the reason that focuses in the same time framework generally speaking do not generate an interest in each other mutually is that this is inefficient. The essence is manifesting more than one focus within one time framework to offer itself a variety of experiences and beliefs and cultures in one time framework. Therefore, in offering itself the purity of each individual manifestation, it is inefficient, for the most part, for there to be an objective interaction between the focuses. Generally speaking, although it is not a rule, essences choose to manifest different focuses in the same time framework in very different locations, almost insuring that they shall offer themselves the purity of their experiences and choices.
This also is generated, in a manner of speaking, as a natural safeguard, in your terms, to the identity of each individual. For even this one essence that has presented itself as an example to many of you within this forum, of two focuses that have chosen to be interactive with each other, one of those focuses has experienced a challenge concerning its individual unique identity in objective terms, in the recognition of another focus of that essence.
You automatically generate a struggle: is the other individual a focus of you or are you a focus of it? What IS the nature of your identity? Are you this individual? Is this individual you? Are you each unique? Are you the same? What is your identity? And this may be quite confusing temporarily to the individuals within physical focus.
But this one essence of Myranda, as you aware, has provided an example that may offer information to other individuals objectively in what may be generated in actual objective interaction with another focus within the same time framework, that you may view and not necessarily incorporate the same action objectively yourselves, for it is unnecessary. This essence has merely chosen to provide an example, for this is a tremendous curiosity of many of you.
BEN: I think some of it is we tend to think of essences as being people, and trying to wrap that with the idea of what is an essence if an essence is several people at the same time or at other times or whatever. I've been trying to think, for myself as an example, of an essence as like a style, like these individuals share the same style in some sense.
I know you've talked before about theme, that they all have a similar theme. In fact, talking about Mikah, it seems to me the theme of his focuses has to do with honor, is how I see it. But I don't have any idea about my own theme, and I guess that's why the curiosity. Like you said, we're trying to redefine our definitions, and so I'm trying to think of a way to think of essence as what it really is instead of what I think it is.
ELIAS: I am understanding. I may express to you that although essence is not a thing, it may be more closely associated with the idea of an entity. In this, each focus is an attention of that entity, which may or may not be expressed in physical form. There are countless attentions of each essence. Some of those attentions are manifest in physical form; many are not.
FRANK: As focuses? The attentions are focuses, even though they're not objective?
ELIAS: A focus essentially is specifically defined as a focus of attention. Therefore it matters not whether the focus of attention is choosing to project a physical manifestation or not. The essence is choosing to be exploring all avenues of self, physical and nonphysical. The physical expression of exploration is merely another creative avenue in which the essence may experiment with the manipulation of energy of itself to invent new manners of exploring itself.
This is the reason that I express to you all, this is a game. Essences are quite playful. The action of exploration of self in the movement of folding in continuously but also expanding simultaneously continuously, in a manner of speaking, is a playful action and in your terms may be quite considered a game.
JIM: Could you offer an example of what a nonphysical focus of attention would be? If we are objective focuses, and you said they're not necessarily going to be objective, they could be... Can you offer to illustrate some sort of example of what a non-objective focus of attention would be for essence?
ELIAS: The incorporation of objective awareness is a tool to allow you, as an attention, to manipulate energy in a manner in which you may generate physical matter; but you as an attention are not actually physical. You are merely incorporating a tool of objective awareness to allow you to generate physical imagery, physical projections, which are manipulations of energy that you configure in association with your choice of the expression of time; and in relation to the way that you manipulate energy and time, you generate an actual physical manifestation. Your attention is not physical, therefore the expression of attention is the same as it is expressed in nonphysical expressions of consciousness.
Now; offering an example of an expression of non-objective attentions may be almost - not quite, for there are no absolutes - but almost impossible, for you shall automatically associate with what you know in objective terms. Therefore, I may offer an expression and you shall automatically move that into an objective translation. Therefore, it shall be an objective expression.
Subjective or nonphysical attentions are concerned with movement of energy, expressing qualities of energy, and movement in association with other aspects of consciousness in an exploration of self as essence.
What you generate in this physical reality is quite similar to what is generated nonphysically. You merely express that exploration in a physical manner. As an example, you challenge yourselves to invent physical creations. You challenge yourselves to generate actions that initially appear to you to be impossible. You create flying machines, for you view yourselves to not incorporate the ability to physically fly incorporating the form that you have chosen. Therefore, you invent a machine that shall allow you to fly. This is a reflection of a natural movement of essence in projection in nonphysical terms, moving within or through space rather than around space.
You create devices and equipment for communication - your telephones, your computers - which offer you an instantaneous ability to be objectively physically communicating with other individuals, and at times many other individuals simultaneously, without altering your physical location. This also is a natural movement of nonphysical energies. There is a continuous communication, not in language but in exchange of energy between essences within consciousness.
Therefore, what you generate in this physical dimension is quite a reflection of what is generated in nonphysical terms within consciousness.
JIM: Thank you.
ELIAS: You are quite welcome.
BEN: How many famous focuses does Frank have?
ELIAS: (To Frank) Offer impression.
FRANK: Too many to count! (Laughing)
ELIAS: Ah!
BEN: I say five.
ELIAS: (Looking at Frank) Too many to count? (Elias laughs)
FRANK: Whatever the number is, it will not make the focus of Mikah very happy. (Laughing) And that will please me!
ELIAS: (Looking at Ben, and referring to Frank) Ah! He lives to irritate! (Laughter)
FRANK: That is why I have famous focuses! If I have them.
ELIAS: Perhaps this may not necessarily be your most infamous focus of attention, Albert, but perhaps it may be Christian's! (All laugh)
FRANK: An accomplishment in sight! (Elias laughs) Very happy about that!
BEN: How many? You think they're innumerable?
FRANK: Actually, no, I don't, no. I never really thought of how many famous focuses. I'm still working on my infamous focuses! But to go back to famous, maybe three, four.
ELIAS: Four.
FRANK: Famous, like historically speaking?
ELIAS: Yes.
BEN: Does he have a connection with Mark Twain? (Pause)
FRANK: He has to think about it.
ELIAS: No.
FRANK: Did any of my focuses ever meet the Oscar focus, ever visit the Oscar focus on Tite Street in London?
ELIAS: Yes, briefly.
FRANK: Was that focus what we would call a famous focus or just a friend of...?
ELIAS: No.
FRANK: Just an associate, right.
ELIAS: Yes.
FRANK: So that was my connection that I had in the book about Tite Street. I thought I had a connection with Mark Twain, but that might be through Mikah, as the observing focus.
ELIAS: What you are allowing yourself a recognition of is a similarity of energy, not...
FRANK: A similarity of energy with comparison to myself?
ELIAS: Yes, not that this is another focus.
FRANK: I guess I do like him for that! (Laughing)
BEN: I'll ask for a validation on Malia's famous focus: Bloody Mary, Queen of Scots?
FRANK: (Whispering) Who's that?
BEN: Joe. (16-second pause)
ELIAS: No.
BEN: No? (Elias chuckles) I thought that was a good playful answer! You said it was a playful answer. I'll have to go back to Edward again, the history expert.
ELIAS: Ah!
BEN: That was his impression.
FRANK: Give me one famous focus that hasn't killed like over a million people. (Much laughter with Elias) I just need balance!
ELIAS: Investigate!
FRANK: I struggle with that! (Laughing)
ELIAS: Allow yourself to be connecting with your impressions and listening - NOT guessing! (Chuckles)
FRANK: I know; I shall listen. (Elias laughs)
BEN: The essence of Douglas, when I met Kevin I kept thinking one thing I thought he might be... I don't know if it's just because it's Lord Alfred Douglas, but to me it was like maybe this was somebody that I knew, some essence I was familiar with as Bosie, but also he seemed to have kind of like a royal air. Does he have a focus in that time framework who was of noble birth that was interactive with Bosie and/or Oscar? (Pause)
ELIAS: Not necessarily; although, relatively speaking, within an associated time framework, yes, as royalty within what you identify as the location of Germany.
BEN: And was interactive with Oscar and Bosie?
ELIAS: No.
BEN: But the same time framework?
ELIAS: Yes, relatively.
FRANK: Deutschland, the Motherland, the Fatherland!
ELIAS: Quite! (Chuckles)
FRANK: Anything for Jim, anything famous? (To Jim) Any person that you kind of connect to? Just name him, go ahead!
ELIAS: Ah, the fascination!
JIM: I have trouble, I've tried this before...
FRANK: Go on the dark side first; it's always fun. (Laughing)
JIM: I tried to come up with my essence family last night and for some reason I was thinking Vold.
FRANK: Oh, you don't want to go there! (Elias laughs loudly with the group)
ELIAS: I may express to you, you incorporate more playfulness. (Laughing)
FRANK: Which means you could get arrested! (All laugh)
ELIAS: These individuals aligning with this family of Ilda are quite playful and interactive. (Chuckling)
JIM: So any hints as far as famous focuses, if I've had one or anything I can be investigating of?
ELIAS: You also incorporate four, and you may allow yourself to investigate your impressions.
JIM: Very well.
ELIAS: Very well! (Chuckles)
FRANK: You've been reading the transcripts, good boy, Jim!
Any of mine have to do with writing in any form?
ELIAS: One.
FRANK: Medieval time period?
ELIAS: Later.
FRANK: Just a little later?
ELIAS: Russian.
FRANK: Oh, Russian. No wonder my interest in Russia!
ELIAS: Now you may investigate, for I have offered you clues!
FRANK: Who else is there? It's not Tolstoy; Chekhov, no - my Russian friends.
Albert, how many famous focuses do you have?
BEN: Well, seven.
FRANK: Oh, seven! Ooh, Albert!
BEN: Could be!
FRANK: Elias is laughing at you! (All laugh, as Elias grins, staring at Ben)
ELIAS: Shall one incorporate enough?
BEN: I count those two.
ELIAS: Ah!
BEN: Bosie and Thorak, I count them both as being famous people.
ELIAS: You are correct.
BEN: So I just have five more.
ELIAS: But the one is quite enough!
BEN: Yes, it is, yes!
FRANK: You caused enough trouble in that one! (Elias laughs)
BEN: He was asking for it!
FRANK: The whole universe blames you for a lot of it! (Laughter)
BEN: Oh you, you're completely innocent! You've never done anything to anybody! (Laughing)
I think I must have been... Well, I don't know. I think I probably was a painter once, but I don't know if I was a famous painter.
ELIAS: Yes, you are correct.
BEN: Was I a famous painter?
ELIAS: No.
ELIAS: (Chuckling) I may express to you both, you are guessing in this time framework. (All laugh)
FRANK: I have no credibility at all!
ELIAS: You may allow yourself another time framework in which you incorporate genuine impressions and communications to yourselves.
FRANK: Is that why I find myself interacting with a lot of Russian people and also Polish people, and feeling very interactive with those cultures?
ELIAS: Yes.
FRANK: Currently, of the familiarity of it?
ELIAS: Yes.
FRANK: So there you go!
JIM: Were all four, or the majority of my famous focuses, were they male?
FRANK: Good question.
ELIAS: Three and one.
FRANK: So you were a bitch in one. (All laugh, and Elias stares at Frank with a challenging look) It's just an assumption - my belief system!
BEN: It's just a word, right? Just a word.
FRANK: I believe you've been called that in your Bosie focus.
BEN: I suppose so. I called Oscar that.
FRANK: And he has returned the favor, returned the compliment.
ELIAS: And perhaps with this note, we shall close! (Chuckling)
FRANK: Are we boring you? (All laugh)
BEN: I've got ten more minutes! (Elias laughs)
FRANK: That means we're not going anywhere real fast!
JIM: Can I squeeze in a quick question about statistics?
ELIAS: You may.
JIM: A new female who I'm creating right now, I was wondering statistics, her essence name...
BEN: Oh, that's what you mean by statistics.
ELIAS: Offer your impression as to essence families and orientation. (Pause)
JIM: I'm getting maybe the same as me, Ilda? Playfulness...
ELIAS: Reverse.
JIM: Ah. (Laughs) Interesting.
BEN: So Ilda aligned with Sumari.
ELIAS: Correct. And your impression concerning orientation?
JIM: Intermediate?
ELIAS: Common.
FRANK: Nice try, though. (Laughter)
ELIAS: Essence name, Noell, N-O-E-L-L (no ELL).
JIM: Family?
BEN: She is Ilda aligned with Sumari.
FRANK: You're Sumari/Ilda. Keep that straight, though. That'll get you into a lot of places, Sumari.
ELIAS: Ha ha ha ha! Relatively speaking! (Laughter)
BEN: So I have an impression that I might have known Andrel as a cook, that he worked as a cook.
ELIAS: Yes, you are correct.
FRANK: Nice!
JIM: On a boat? (Pause)
ELIAS: Yes.
FRANK: Good job, new guy. That's a nice one.
JIM: Actually that came from you. If you remember, one of the things you said on the phone was you threw in an example about that perhaps - maybe you were just rambling - that maybe we met on a ship somewhere. That kind of stuck in my mind that maybe we really did.
ELIAS: A riverboat.
FRANK: The Mississippi. The old hometown! Did we all know each other then?
ELIAS: Yes, this is a familiar location with you.
FRANK: New Orleans.
BEN: So I'm going to say that I was like a traveling merchant or something like that, some kind of conducting business or...
FRANK: Slave trader. (All laugh and Elias chuckles)
BEN: That wouldn't be a riverboat, though, right?
ELIAS: Correct.
BEN: That was correct, that I was traveling salesman on the riverboat? (Elias nods in agreement)
FRANK: What could you be selling? Cotton, indigo, sugar cane?
ELIAS: Fabric.
BEN: Oh, let me ask you something! Vicki had had an impression about this movie that she saw, and I went and got the book. She asked you if Mary and Sandy were the main characters of this book. She was saying that I was in this movie too, which was based on a true story about this woman in Brussels who pretended to be German, even though she was Jewish.
This character in the movie, his name was Albert and she was thinking that that was me. Mary had actually had the impression that it was actually in a sense reversed, that this Albert person was actually a focus of Sandy's and the other guy, Franz or François, was a focus of mine. I actually think that that's probably true too, because that would lend more of this idea of me being this merchant. It sounds like my French Revolution focus, where I'm just playing both sides for the money and don't have anything to do ... that Mary and I don't have any romantic involvement or whatever, that this is something else.
ELIAS: Correct.
BEN: That just came to me.
ELIAS: Yes, your impression is correct.
BEN: I was kidding before that I had seven famous focuses, but obviously from your expression seven is too many, that even though that one is enough, I don't have seven.
ELIAS: (Grinning) I am not disputing your count, I am merely expressing to you that one is enough! Ha ha ha!
BEN: It's very interesting, because I don't know if this is a real impression or not, but I started reading Bosie's autobiography and I'm reading it going, "You're lying. You only wrote this because this is what you want people to think. This is not what happened, this is not what's really going on." I suppose people can do that with anything they read. You know what I mean, that they get an idea, you identify with people or you get an idea, but I mean in the sense that this is supposed to be a focus of my essence, I'm thinking that this is absolutely true and I don't care what's written here and I don't care what he said, supposedly even about his own life, and that he's bending the truth.
ELIAS: Correct. This is actually allowing yourself to pay attention to you, for you ARE this individual.
BEN: See, that just goes back to what we started about earlier. It's trying to get an idea about you are this individual and yet you're not. I'm just as much Bosie as the other four people walking around now are Albert. I mean, we're ALL Albert.
ELIAS: Correct.
BEN: It's funny because I hear people say... I had wanted at one point, well, I will probably still introduce you to Tracey, who has the green carnation tattooed on her breast. She's got to be in there with the Oscar thing somewhere, otherwise she wouldn't have needed that kind of objective imagery - or I wouldn't have needed it - but... What am I talking about? I've already forgotten! (Elias chuckles)
FRANK: Nothing new, right? Right, Oscar? (Laughter) The focuses.
BEN: It has something to do with being... Like she was saying to me, "Oh, well, you don't want to be Bosie," and I said...
ELIAS: They are attentions, my friend.
BEN: Yes.
ELIAS: Let me express to you, physical space is an illusion. It is a reality in the design of your physical dimension, but it is also an illusion. All time is simultaneous, therefore the expression of linear time is an illusion also, one that separates each focus of attention and allows them to be manifest separately. Space is an illusion also, therefore all of the attentions occupy the same time and space. They are merely separated by the illusions of your physical design of time and space.
Therefore, you are not separated from any of these focuses. They are all present. They are all you, now, in this space arrangement. You merely generate this illusion of separation to allow you to separate these attentions.
BEN: So you and I are sitting at The Savoy, having dinner and smoking cigarettes?
ELIAS: Correct.
FRANK: I think it's the identity thing that is the problem...
ELIAS: Correct.
FRANK: ...the objective identity: if I disengage, do I get sucked back into my essence like a giant tongue of a dragon...
ELIAS: No.
FRANK: ...or do I lose my identity that I know here...
ELIAS: No, you do not.
FRANK: ...or do I expand out and become my own essence?
ELIAS: If you are choosing, you may.
FRANK: But I will still know me as me...
ELIAS: Yes.
FRANK: ...in my own way of thinking of me.
ELIAS: Yes, for this is the attention.
FRANK: Like Vicki still is Vicki, then.
ELIAS: Yes.
FRANK: Vicki's not Lawrence, in that manner of speaking. Vicki knows who she is and she knows she's a part of Lawrence, or feels it now, but is she still Vicki?
ELIAS: The attention continues to be unique and expressing what YOU recognize as its unique personality expression.
This is the reason that I incorporate physical terms that you may understand. Your finger is your finger. It is not "sucked into" any greater expression of you. It is what it is, but it is an aspect of you. Each attention is a unique expression of the essence.
Allow yourself to view your physical expression and that you may move your attention. You may incorporate your attention in relation to thought, impressions, impulses, physical expressions, emotion. All of these expressions are aspects of you. Your attention moves.
As essence, you incorporate this BOUNDLESS expression of attention, but you may also focus aspects of that attention quite specifically, and allow the expression of that aspect of attention, which incorporates its own unique expression. You identify that within this physical dimension in association with personality and your physical manifestation.
In nonphysical expression you do not associate with the expression of physical matter, but the attention continues to be known. You incorporate an awareness of the uniqueness of YOU and the energy that is expressed uniquely that is the identity of you as the aspect of attention, but it is expressed differently for you do not associate with a physical manifestation.
I may express to you, in this energy exchange Michael's participation in the action of this energy exchange, within the time framework in which it is occurring as I engage you, Michael experiences a similar association to what I am expressing to you.
FRANK: While you are talking and Michael supposedly is somewhere else, that's the feeling she has described?
ELIAS: Correct.
FRANK: That makes it more tangible at this point.
ELIAS: And there are other individuals that allow themselves this experience, that you may offer yourself somewhat of an objective understanding as you share information with an individual such as the focus of attention of Michael that you recognize as Mary.
FRANK: Very interesting. (Pause)
BEN: Any closing words? (Elias chuckles)
FRANK: Although we will be back again. (Laughs)
BEN: We'll do this all again tomorrow!
ELIAS: Very well. Therefore, there is no necessity for closing remarks, other than I continue to offer my expression to you as "the bitch." (Laughter) As to not disappoint you! (Looking at Ben) Ha ha ha ha!
BEN: Oh, thank you.
ELIAS: I shall be anticipating our next meeting, and (looking at Jim) offer my invitation to you. I need not offer an extended invitation to either of you (looking at Ben and Frank), for I am aware of your continuous expression of being enamored with myself! (Laughter)
FRANK: Well said, well said!
ELIAS: Ha ha ha ha! Therefore I am quite aware that I shall incorporate the pleasure of your interaction once again.
FRANK: Hear, hear!
ELIAS: Ha ha ha! Attempt not to be too evil, Christian!
FRANK: No. I will not.
BEN: This time!
ELIAS: (Laughs) To you all, as always in great affection, au revoir.
ALL: Au revoir.
Elias departs at 6:55 PM.
(1) The movie referred to is "A Woman at War," made in 1991.
(2) For newer readers, the Vicki that Frank is referring to - Vicki Pendley, the forum's first transcriber and major supporter and contributor to the dissemination of the Elias material - had just dis-engaged two months earlier, in December of 2001.
©2004 Mary Ennis, All Rights Reserved
Copyright 2002 Mary Ennis, All Rights Reserved.