Monday, March 10, 2003 (Private/Phone)
Participants: Mary (Michael) and Marta (Bourjn)
Elias arrives at 8:34 AM. (Arrival time is 19 seconds.)
ELIAS: Good morning!
MARTA: Good morning, Elias! How are you?
ELIAS: As always, and yourself?
MARTA: This is Marta. Listen, I’m very, very nervous, excited, happy, glad, everything — you can name it! (Elias laughs) I finally meet you! You won’t believe how long I’ve been waiting for that.
Okay, let’s start the session?
ELIAS: Very well!
MARTA: First I’m going to do all my typical questions, because it is my first time. Okay?
ELIAS: Very well.
MARTA: Which one is my essence name?
ELIAS: Essence name, Bourjn, B-O-U-R-J-N (BORN).
MARTA: Thanks. Can I tell you my impression of my essence family, alignment, focus, and orientation?
ELIAS: Very well.
MARTA: I have an impression that my family is Sumafi.
ELIAS: Correct.
MARTA: Alignment, Sumari?
ELIAS: Correct.
MARTA: Thought focus?
ELIAS: Correct.
MARTA: And the orientation, I’m not sure. (Elias chuckles) Common?
ELIAS: Yes!
MARTA: Thanks. From which essence did my essence fragment?
ELIAS: Fragmenting essences, Oule, O-U-L-E (OW ool), and Diskus, D-I-S-K-U-S (DIS kus).
MARTA: Can you give me the same information for my friend Dora, the essence family and name and orientation?
ELIAS: Essence name, Arria, A-R-R-I-A (AR ree uh). And your impression as to essence families?
MARTA: I think she’s Sumafi/Sumari.
ELIAS: Correct.
MARTA: And orientation?
ELIAS: Common.
MARTA: We do hold a focus together?
ELIAS: Yes, several.
MARTA: Can I have the same thing for my friend Cliff?
ELIAS: Essence name, Swamy, S-W-A-M-Y (SWAH mee).
MARTA: And essence family?
ELIAS: And your impression?
MARTA: I have no idea. He’s very difficult for me, too! He’s very different to me! (Both laugh) We never agree on anything, but he’s my friend. Only in music — in music we agree!
ELIAS: Essence family, Zuli.
MARTA: Makes sense! And alignment?
ELIAS: (Laughs) Alignment, Sumari.
MARTA: No kidding? It’s his artistic expression! (Both laugh) And he’s common?
ELIAS: Yes.
MARTA: I can see it. What about my three daughters? Heike?
ELIAS: Essence name, Sylvi, S-Y-L-V-I (SIL vee). And your impression?
MARTA: I think she’s Sumari.
ELIAS: (Chuckles) And the alignment?
MARTA: I’m not sure. Ilda?
ELIAS: Correct!
MARTA: Oh, I got it! (Both laugh) And she’s common?
ELIAS: Yes.
MARTA: Marlin?
ELIAS: Essence name, Maria. And your impression?
MARTA: Zuli?
ELIAS: Alignment.
MARTA: And the family?
ELIAS: Essence family, Vold.
MARTA: I see why that was difficult for me to discover! (Elias laughs) She is common also?
ELIAS: Yes.
MARTA: And Mila? (Elias chuckles) You’re laughing!
ELIAS: Essence name, Estel, E-S-T-E-L (ess TELL).
MARTA: Essence family?
ELIAS: Your impression?
MARTA: Oh, this is hard! (Elias laughs) I have no idea. Borledim?
ELIAS: And...?
MARTA: She’s so quiet that it’s hard for me... I don’t know the alignment.
ELIAS: Milumet.
MARTA: I was thinking that! And the family is Borledim?
ELIAS: Yes.
MARTA: I was thinking Milumet but I didn’t mention that. I had doubt. (Elias laughs)
Now, I always have felt very strongly that this is my last focus. Is this my final focus?
ELIAS: Yes.
MARTA: How many focuses has my essence in this dimension?
ELIAS: Total numbering, 827.
MARTA: Thank you. And how many in this time framework?
ELIAS: Five.
MARTA: How many of those are easy for me to have alignment with?
ELIAS: Two hundred twelve.
MARTA: This is a lot! I have to be very busy! (Both laugh)
Elias, now I would like some verification of the focuses that I have impressions about, okay?
ELIAS: Very well.
MARTA: One is in Poland in the 1700s. I think her name was Xenia Tuchinsky, and I think she was a mistress of a noble man.
ELIAS: Correct.
MARTA: I saw her face. In a meditation I saw everything. When I saw her face I felt very strongly that she was a focus of mine. That is correct?
ELIAS: Correct.
MARTA: Another one — Germany in the 1500s, a nun. I think that her name was Sister Gertrude or something like that, and she lived in Wurttemberg — what today is Stuttgart — in the time of Martin Luther.
ELIAS: Correct.
MARTA: Another one in Norway, I think the name is Jasonya, a Viking woman, in the 900s, something like that.
ELIAS: Correct.
MARTA: Thank you. Another one I think is in France, late 1800s. I think the last name is Plantier. I believe that he was or is an amateur physicist, and he was obsessed to find the origin of energy in the universe.
ELIAS: Correct, although did not quite accomplish! Ha ha ha!
MARTA: (Laughs) He wasn’t really a known physicist, right?
ELIAS: Correct.
MARTA: He was more like an amateur.
ELIAS: Correct.
MARTA: Those are more impressions, the ones I was going to mention, that they didn’t come in any altered state of consciousness.
I just got the impression in Ethiopia or Nubia, and I think the name was Ninive, about 3000 BC.
ELIAS: Ethiopia, correct.
MARTA: Thank you. I have something — Sophie in Greece, about 200 BC.
ELIAS: Sophia, correct.
MARTA: Thank you. Now I have a question. Do I have any connection with Catherine the Great?
ELIAS: You incorporate a focus within that time framework and are known to that individual, but that is not a focus of your essence.
MARTA: Because I was always attracted to this time period in Russia. Always I felt interested to read about the time that Catherine the Great lived. I didn’t know if it was about her or about the time in Russia, but I felt attracted to Russia and this time.
ELIAS: Correct.
MARTA: That has nothing to do with Catherine the Great?
ELIAS: It is more associated with the time framework...
MARTA: ...than with her.
ELIAS: Yes.
MARTA: Always I felt drawn to Beethoven, not only his music. I myself am a musician, a pianist — not a good one, but anyway. Even when I was fourteen, I was already deeply in love with him, with his personality, his essence — not only his music, everything. Now, do I have a connection?
ELIAS: (Laughs) I may express to you, in actuality, yes, but not necessarily to that one particular focus but to the essence that projected that focus, which is myself.
MARTA: Then I don’t have any focus connected with Beethoven?
ELIAS: No. You do incorporate a focus within that time framework and in that physical location but not associated with the individual himself.
MARTA: Do I have any focus that I was connected with you, Elias?
ELIAS: Yes.
MARTA: But not in the Beethoven situation.
ELIAS: Correct.
MARTA: Don’t I get to find out anything? Anything I can explore?
ELIAS: (Laughs) Perhaps in your native culture within a different time framework — quite flamboyant, quite colorful.
MARTA: Are you talking about a writer?
ELIAS: No.
MARTA: Then I had connection with it, a focus with this connection?
ELIAS: Yes, but I am not referring to that particular focus.
MARTA: No, you are referring to another one.
ELIAS: Correct.
MARTA: Can you give me a hint about location?
ELIAS: And do you not recognize your native culture, one that I am particularly fond of, in España?
MARTA: (Laughs) You know Spain!
ELIAS: Ha ha ha! Quite a colorful individual!
MARTA: In the 1800s? I’m correct?
ELIAS: Seventeen.
MARTA: A colorful person?
ELIAS: Quite!
MARTA: Okay, I have to search! I believe I have something to start working with.
Now, let’s go on. Today we have in this time framework a Russian pianist, Mikhail Pletnev, and I don’t know why I felt so strongly connected with his essence right away. I don’t understand that. I feel like I know his essence, and I’ve never met him. He is a very famous pianist. But everything I found after that already I knew about him. Why do I have this?
ELIAS: For you do also share several focuses with this essence, therefore you also recognize a familiarity.
MARTA: Do I have a focus that is a musician?
ELIAS: Other than yourself? Ha ha ha!
MARTA: Yes. Now I don’t think I’m a very good musician! (Laughs)
ELIAS: (Laughs) I may disagree with you!
MARTA: Well, then I accept that! (Both laugh)
ELIAS: Very well! But yes, you do incorporate other focuses as musicians.
MARTA: And a philosopher?
ELIAS: Yes.
MARTA: Elias, which way is my direction of movement in this focus, my intent?
ELIAS: Ah! And shall you not investigate this question and allow yourself to discover, and thusly present that to myself and I shall be validating of it or offering you expanded information?
MARTA: I think I have an impression about that.
ELIAS: Very well.
MARTA: My theme has been searching to understand the truth of what we are and existence. I think maybe knowing self.
ELIAS: Partially. But in this also, within your individual focus, you have moved in the direction of your intent to be exploring the interaction of music in association with self to facilitate becoming more familiar with self. In a manner of speaking, you have incorporated this particular expression as a type of method, an avenue which allows you to connect with information in different manners and interact with generating a different type of communication with yourself which does not merely allow yourself an understanding of yourself but also allows you an understanding of other individuals through a vibrational language.
MARTA: Interesting. I never thought of that, and I haven’t really started moving in this direction yet.
ELIAS: Ah, but you have, my friend, throughout your focus. You merely do not objectively recognize and credit yourself with what you actually do.
MARTA: No, I haven’t! Interesting. Thanks so much, Elias. I will now try to be more aware about that.
ELIAS: This I may say to you also, my friend, is another reason that you generate such an interest in that particular focus of Ludwig, for that particular focus also generated a tremendous expression of communication through music and feeling the vibrational tones which communicate and facilitate an opening of communication. You generate a similar action within your focus, which is the general theme or intent within your focus.
If you allow yourself to view the entirety of your focus and what you may term to be this thread which has been expressed in music throughout your focus, you may also begin to recognize how you have incorporated that particular expression to be offering you a particular state, so to speak, or presence of being, in another manner of speaking, which you focus your attention in an intensity in relation to those vibrational qualities, which allows you at times to either relax or experience tension — but this type of tension facilitates an opening in discovery. It is not the type of tension that I discuss with other individuals that may be what you think of as detrimental, but it is a manipulation of your energy in both these manners, of relaxing in association with the tones and also generating a tension in relation to the tones, which creates an opening within yourself. Many times, although you may not be acknowledging what you are actually doing, many times you offer yourself impressions and inspirations in association with that movement in relation to yourself and to other individuals also.
MARTA: Thank you! I would like to say that I have never been acknowledging. I am not aware about it, it’s true. Thank you very much for all this information.
Now, a question, Elias. Elias, how are my energy centers? Are any out of alignment?
ELIAS: In this present time framework?
MARTA: Yes.
ELIAS: Somewhat, not necessarily in extreme. But I may express to you that you may focus upon the yellow and the orange energy centers.
MARTA: They are out of alignment?
ELIAS: Somewhat, but not in extreme.
MARTA: Which one is my color signature?
ELIAS: And your impression?
MARTA: Between indigo blue and purple.
ELIAS: Plum.
MARTA: It was close, like a mixture of both! (Elias laughs)
Now I’m going to a question that has to do with experiences that I started to have about seven months ago. I never was able to really reach any altered states of consciousness objectively. Then I did all the states on the Monroe Institute, I read Seth, I did everything, but I never was able to do really anything that objectively I thought I was reaching an altered state.
Then I saw this person, his name is Bruce M., and he was also attending the Monroe Institute with Robert Monroe. He basically was saying that you don’t need to be out of body to focus your consciousness to another location. Then I followed what he was saying and basically it was a very light state of meditation, using just imagination and intent. I started applying that, and from the beginning, I believe for the first time I’ve started having experiences. This is how I found those other focuses of myself, the information of the other focuses.
Also I have experiences that I would like your opinion or verification about. One of the things that I desire information about is, after I focus my consciousness away from the physical but still knowing that I’m physical, I try to imagine a place for myself. I imagined a cabin, a very nice log cabin with a fireplace and everything. Always I stay in this cabin by myself, and then one time I felt the presence of somebody talking to me telepathically. Then I met a person that defined himself as a friend of mine. I call him Ajtosh. Anyway, I connected with this presence many, many times and he talks to me telepathically. I want to know, what is this person Ajtosh? Can you verify, is he...? I think that he told me that he was another aspect of my essence.
ELIAS: Correct, another focus.
MARTA: And the same thing happened with Lianto, another person that I met over there.
ELIAS: Yes, and this is quite real.
MARTA: I met three presences, Ajtosh, Lianto and Michael.
ELIAS: Correct.
MARTA: And the three are also aspects of my essence?
ELIAS: Yes.
MARTA: Good. Then also I had experiences in which I was assisting people that had just disengaged. Those are real?
ELIAS: Yes.
MARTA: Because I saw images, mostly by feelings, impressions, telepathic connections and by also instant knowing. I saw myself that I had been assisting people that had just disengaged.
ELIAS: Correct. This is not an unusual expression, for there are many individuals that also focus attentions in this manner in being assisting to individuals that have disengaged and perhaps are unaware of their disengagement.
MARTA: Exactly. The majority were not aware that they had disengaged.
ELIAS: Correct.
MARTA: For some reason I was able to communicate with them and to assist them in the process.
ELIAS: Correct.
MARTA: Another question I have — I’m interacting in The City?
ELIAS: Yes.
MARTA: Okay, because I have a tile.
ELIAS: Ah! (Marta laughs) Very well! And shall you offer it?
MARTA: Yeah! Okay, let me explain it to you. I had the impression of a tile. I didn’t really see it as a visualization. It was more like seeing in my mind. Okay?
ELIAS: I am understanding.
MARTA: It was a square and had a circle inside, tangent to the sides of the square. The circle was purple and was all covered by a spiral. The spiral was clockwise. I had the impression that the spiral was dark indigo blue. Then it had two thick lines crossing in vertical and horizontal, black lines, dividing the square in four.
ELIAS: And have you offered yourself an impression as to the action of this tile?
MARTA: I think it’s about remembrance of self.
ELIAS: It is somewhat more specific than merely a general remembrance of self.
MARTA: And it is multidimensional self?
ELIAS: Partially — a remembrance of the multidimensional aspects of self.
MARTA: Because those are the two things I got impressions of, remembrance and multidimensional self.
ELIAS: Correct.
MARTA: And it’s Sumafi?
ELIAS: Correct!
MARTA: Then I got it!
ELIAS: (Laughs) So be it! It has been inserted!
MARTA: Thanks so much! (Laughs)
Now, I have a question that is more curiosity and has to do with Ludwig Beethoven. Can you tell me which one was his most favorite piano sonata, the one that he felt more accomplished with, he was more pleased with? The reason is I’m going to start working on another sonata from him, and I want to choose one that I knew that he was very pleased with. The B Flat Minuet?
ELIAS: I may offer two: “Fur Elise” and that which is named “The Moonlight.”
MARTA: I have a question about something that Seth mentioned in one of his books. He mentioned that when essences are done with the physical manifestations, they have a lot of possibilities to choose, and among those are the ones that they can choose to be creative. He said that this is mainly chosen by vocation. Now, this is my question, they are creative of what? We are all creative all the time.
ELIAS: Correct.
MARTA: Then this is my question, and the reason I’m asking also is because in one of my experiences that I had, I reached some place, some area of consciousness in which I met a presence over there and they told me that this was a place that they were focused in creation, they were creative.
ELIAS: Let me clarify, for I am aware of the generality of this identification.
You are correct; you are all creators continuously. But more specifically, as in similarity to what you identify in association with your physical reality as the Dream Walkers, they may be classified as the creators of this physical dimension for they have designed the blueprint — not necessarily chosen to be participating physically in this dimension, but have created the blueprint for it.
Now; in similar manner, as you may be disengaging, the focus of attention continues and may choose to be participating in countless different directions and may choose to be participating in the creation of a blueprint of another reality, but may not necessarily choose to be participating in that reality itself. Are you understanding thus far?
MARTA: Yes, I’m understanding everything.
ELIAS: Therefore, I am understanding that the incorporation of the term “creators” may be somewhat misleading, for it also implies some greater action that may be incorporated than shall be by other essences, which is quite incorrect, just as it is incorrect to associate that the Dream Walkers were any greater or more powerful than the essences that physically participate in this reality. They have merely chosen to incorporate different roles.
Therefore, you may choose to be moving into an action of directing your attention in the participation of creating a blueprint for another reality. It is an ongoing action and therefore is not set in stone, so to speak, that there are a set number of realities which have been created and therefore there are no more to be created. For the action of consciousness is a continuous expansion and a continuous action of becoming.
MARTA: I understand. Now can you validate this for me? I had this experience when I went to this area of consciousness in which I met those persons or those essences and they told me that they were creators and they were explaining all that, this was real?
ELIAS: Quite!
MARTA: They told me that the word “creators” was not the right one, because we associated a creator with this concept of god. They explained that maybe for your understanding they would be using the word “planning,” that we plan.
ELIAS: Correct.
MARTA: They said that all consciousness are creators...
ELIAS: Correct.
MARTA: ...are creating constantly and that there was a conjoined creation.
ELIAS: In a manner of speaking. For I wish not to be incorporating the implication that you are co-creating, for this is incorrect.
MARTA: I think I can see the contradiction.
ELIAS: Correct.
MARTA: I didn’t really understand that. We’re not co-creators, but it’s a contradiction and at the same time we are co-creating. We are creating together but at the same time we are not.
ELIAS: As a cooperation.
MARTA: Then you can validate this for me. Great.
Elias, can you give me advice that will help me to become more objectively aware of my subjective awareness?
ELIAS: Pay attention in the now to what you actually do and what your communications are. If you are genuinely paying attention in the now to your actions and your communications, you offer yourself a clear observation and understanding of your subjective movement.
MARTA: Thank you. This has nothing to do with altering your state of consciousness?
ELIAS: No. This is a matter of paying attention to what you are...
MARTA: Paying attention in the now, right now.
ELIAS: Correct, to what you are actually generating, for this IS the manner in which you allow yourself to objectively be aware of what you are subjectively creating. Be remembering, the subjective awareness is precise, and expresses action and movement in specifics. The objective translates that into many, many, many different imageries in abstractness. Therefore, this is the reason that it is important to be paying attention to what you actually do and what your communications are, for this shall allow you to more precisely recognize what your direction is subjectively. They are continuously in harmony with each other.
MARTA: I understand that, and I agree. Already I know this change in my own life since I became aware of all the material of Seth a few years ago. My life’s changing, Elias. I became more aware of the now and living in the now, and already I see how my problems are disappearing. (Elias laughs) They are! My problems are disappearing. I become more aware that I create my own reality every single moment. Still I’m learning, but already I’ve been able to see very clear how everything really changes.
ELIAS: Quite, which also generates a stronger awareness of your perception and how alterations in your perception is very powerful and creates significant differences in all of your reality.
MARTA: It’s like you learn to live with a natural flow.
ELIAS: Correct.
MARTA: You’re just trusting yourself. Everything flows so naturally, and there is no problem! (Elias laughs) It disappears! I don’t say I do it all the time, but I really see an incredible change in my life. You can verify that?
ELIAS: Yes!
MARTA: It’s true. Still, I’m learning! (Elias laughs)
I wonder, do I have connections with the group from the Forum?
ELIAS: In what capacity? Yes, you are connected...
MARTA: Because I feel so drawn from the first moment to Mary, Lynda, you — all of them. Now I wonder, do I have connections with them in another focus?
ELIAS: Yes.
MARTA: And I have to find out which ones, right? (Both laugh)
The last thing I want to ask you, Elias, you know I’m giving a concert on Saturday this week. Please, can you give me your energy and be around with me?
ELIAS: Very well! I shall offer it to you freely, my friend.
MARTA: And give me musical impressions or whatever? (Both laugh) I guess I’m a little nervous with that. I want to know that you’re around, please.
ELIAS: Very well!
MARTA: Listen, Elias, I don’t want to strain Mary because she was sick yesterday. I think I’d better say good-bye. We’re almost at the end of the hour.
ELIAS: Very well, my friend.
MARTA: Is there anything that you can give me at the end, any good advice besides the wonderful things that you already told me?
ELIAS: I shall merely express to you to be accepting of my energy in tremendous encouragement to you, and you may wear it as a shawl around your shoulders, my friend. I shall be encouraging you with my energy, and you may allow yourself to feel that energy as it moves through your physical body consciousness, and allow your fingers to move like feathers.
MARTA: Thank you! I will be aware of that.
Before I end the session, all this month I’ve been waiting and so excited to meet you and everything, and thinking of you all the time. Sometimes I felt you.
ELIAS: Correct.
MARTA: I was right? I felt you and I felt that you were communicating with me.
ELIAS: Correct.
MARTA: When I close my eyes and I try to relax a little bit, I see a tiny, tiny little blue dot. (Elias laughs) You’re laughing! It means something?
ELIAS: To be reminding you of my presence.
MARTA: It’s a very tiny blue dot! (Both laugh) Thank you very much! I will be talking to you again, Elias.
ELIAS: Very well, my friend! I shall be anticipating of that discussion. Ha ha ha!
MARTA: Bye-bye again. I love you very much!
ELIAS: And I express my tremendous affection to you also.
MARTA: I will talk to you very soon.
ELIAS: Very well. In great fondness, my friend, au revoir.
MARTA: Thank you, Elias! Au revoir, bye-bye.
Elias departs at 9:23 AM.
©2005 Mary Ennis, All Rights Reserved
Copyright 2003 Mary Ennis, All Rights Reserved.