Being the Story
Topics:
“Being the Story”
“Dream Imagery Reflects the Energy You're Projecting”
“Not Creating What You Want by Concentrating on Your Prerequisites”
“You Cannot Lose Love, But You Can Lose a Precious”
Wednesday, August 22, 2007 (Private/Phone)
Participants: Mary (Michael) and Anjuli (Myranda)
ELIAS: Good afternoon!
ANJULI: (Laughs) Good afternoon, Elias.
ELIAS: (Laughs) And what shall we discuss?
ANJULI: A-ha! Well, to listen to my talk with Mary (laughs) I already trained myself to what I can discuss with you. Of course I created so many trusting experiences. And let's start it first with greetings from my mother.
ELIAS: And you may offer my greetings and my lovingness to her.
ANJULI: Yes. And she said—she didn't write a letter but she suggested me to tell you—that she's always very sad, as you know. (Inaudible) I said to her that I would like to tell you about her recent success, so I told her that I'm going to tell you because that's so interesting and I think she would have told you in her own session. And that's that she was successful with making her lump, in her breast, smaller. Her breast cancer is getting healed. It's one size smaller and she doesn't even have to get the surgery, as she didn't want that surgery. And although the doctor suggested, she continued in saying no and going by her own desires. And she's successful.
ELIAS: And you may offer to her my congratulations.
ANJULI: Yeah. And from other talks we had, that's what I would like to ask is about her dreams. She continues to tell me about dreams she has. And she's sometimes confused about the dreams she has, when she has dreams about my father. It's very often about, like, experiences in the war or that she can't write him a letter, or things like that. So not necessarily pleasant ones. At times she has very, very beautiful ones, other times she has more dreams which are confusing to her. Both when she has dreams about my father but also in general, she's often having nightmares, or bad dreams. And I personally would like to know what to tell her. If you can help me what to tell her when we talk about the dreams so that it fits for her perception and her way of exploring. So that I don't… Because I… Well, I'm also exploring helpfulness and how to not feel responsible. But to also nurture as she's so—she's still, for me, a bit different in her perception that sometimes I'm just not sure what to say.
ELIAS: Very well. First of all, let me express to you, it is not unusual for individuals to generate nightmares if they are projecting an energy consistently in distress. Dream imagery responds to energy the same as waking imagery—
ANJULI: Oh, of course.
ELIAS: —therefore just as when you are in waking state and you are generating certain types of energy, you draw to yourself imagery that will match that energy, which I have expressed many times; in dreams the same occurs, for your objective and your subjective are moving in harmony, and that generates the energy that you are projecting. And in this, as I have explained previously, dream imagery is created by the objective involvement within sleep state with the subjective. And the objective translates into imagery. Therefore it moves the same within dreams as it does within waking state, in relation to whatever type of energy you are generating. If an individual is consistently generating an energy of distress, or frustration, or anxiety, that will reflect in the dream imagery, for what occurs is your energy seeks any imagery to match what you are producing in energy, even within sleep. You do not stop projecting energy when you are sleeping.
ANJULI: Aha, but aha.
ELIAS: Therefore you—
ANJULI: But we think that we are not—ah, when we sleep, we sleep and we can't control, so to speak, what energy we are generating when we sleep, because we sleep.
ELIAS: Or so you think.
ANJULI: Yes. So that's what we think.
ELIAS: Yes. But in actuality, you continue to be generating energy when you are sleeping. And therefore, you continue to attract imagery that matches the energy that you are projecting. And within that, imagery is not limited to waking state. Therefore, you draw imagery to you in dreams that matches the energy that you are generating.
ANJULI: Oh, aha.
ELIAS: Therefore—
ANJULI: So my dreams, these weeks, are very often about doing my computer games during the dream. So I create rooms, let's say. And then, I click, with a mouse click, I change the color of the curtain. Or sometimes I want to change and I think I cannot, and then it doesn't happen. But very often I do change it, create new furniture, or a new house, or direct the people in my dream imagery, with a mouse click.
ELIAS: Which is quite understandable. For that is what you are paying attention to and the energy that you are generating when you are awake, and therefore, you continue to generate that energy when you are asleep, and therefore your dream imagery will reflect that.
ANJULI: Mm-hm. Ah, uh-huh. And also it doesn't necessarily mean that our energy in dream state is more open as in the waking state? For a little bit we are more open for... We know that we… No, our perception is that we think that dreams are more fluid, and in this we are more open. We can be more open.
ELIAS: You can be. But even that is reflective of what you are doing, generally, in waking states. For, just as I may suggest to an individual that it may be easier for them to investigate, or connect with another focus in dreams, they already in their objective, waking state, incorporate the want to move in that direction. They are already inviting that direction intentionally, but they THINK that they can engage dreams in a broader spectrum of connecting than they can in waking state. That is not actually correct. It is not true, but in relation to the associations that individuals have, the suggestion to engage other explorations in dreams is accepted more readily for they do incorporate the perception that dreams are more fluid, or more flexible, or that you can accomplish more within dreams than you can within your waking physical interactions. That is not actually true, but you allow more within dreams. But the intention is already set before you engage the dreams, for the energy is already being expressed.
ANJULI: And the intention of what we want to create during waking state is also already set. That's what you said about “that we already created what we want to create.”
ELIAS: Yes.
ANJULI: Yeah, and then it does with other objective imageries also, like that, as it does with dream state, for example. I thought a lot about that these days. On that collective, more and more, seems to go into the direction that we want to have certain experiences, and we want to explore them in a faster way, so that it doesn't take so much time and energy to create these experiences. And then we translate them into reading books or watching movies. And I think it's not only about the softies—the soft orientation— who very much like to do that, but the other orientations too, go in the direction more and more of being interested into movies, computer games, video games, and everything, and that partially… So if, because, of course, they want to be entertained, and all that, but it's also because in this, we can create things and experience them in a very short time without creating them solidly.
ELIAS: Yes.
ANJULI: And this I would see as something beneficial, but it has… But I was for myself exploring that I do make a difference between thinking about this, mostly that this, what I think to be more fluid—like books, computer games, or not solid creations—that I think them to be more fluid. And I think my objective imagery, the solid one, to be solid. As though I were a little annoyed. And we discussed it so very often, but I watched that, as a perception, that I don't… that I go more in the direction of thinking—of experiencing, not thinking, experiencing my objective solid imagery as dream imagery and as links of consciousness, and as very fluid. And I am successful in that, but I discovered a little bit that I also feel I very much trust into creating a few things into computer games, books, movies, or dreams, and whatever. And so I would less trust as to seeing my solid, objective imagery as a big computer game, and a dream. But it has changed already.
ELIAS: I am understanding. And I would agree with you. Another point in this, in relation to what you have expressed in that individuals want to be accomplishing faster or they want to be creating faster, or they want expressions to occur faster. This is also being created already. This is the reason that you all incorporate an altered perception of time—that time is moving more quickly, and that it continues to increase in its rapid movement. This—
ANJULI: I recently said this to my mother, when I came down at noon and it was already twelve o'clock I thought it's maybe 10:30 or something like that. And I said, “I really don't know how these three or four hours, they were really running. It was just half an hour for me.” And at times they can be very long, and two hours are very long. So it's really true that's…
ELIAS: Yes. But in this, individuals ARE actually creating faster. They continue to THINK that they are not creating fast enough, but they are generating movement and manifestations much more quickly.
ANJULI: Yes. So it's, for example, all of my explorations about technology. That was, of course, interesting. Got a new TV; new computer; digital receiver, so more channels; a bigger monitor; with the computer, also a bigger monitor; a new flat-rate for the computer. Lots of imageries into fun games, of course. Of course I like to use TV at the computer for my translations of my games, my inner games, but also as to widening and quicker and more precise and more fun. All of this together.
ELIAS: Yes. And in this, you ARE already doing precisely what you expressed that you want to do.
ANJULI: Uh-huh. And this is that we are moving faster, is when we… Do you think that our whole world changes in the technologies? They are speeding up SO much, as to compared to just ten or twenty years ago, not to speak of the year 1900. So this is related to the shift and that also?
ELIAS: Yes. Quite so. And it also is associated with perception for this is what creates all of these changes. As YOU widen your awareness in shifting, you change your perception, and THAT changes your reality. And it changes it quite significantly, even in relation to time.
Now; in this, what is not quite being recognized by many individuals is that what they have expressed as an intention that they want, they are already engaging. But they think they are not engaging yet. Therefore, they generate somewhat of a perception that they are continuing to wait for certain manifestations or changes and what they are not actually, objectively realizing, is that they have already set that in motion.
ANJULI: Mm-hm. Okay, yeah.
ELIAS: It is already being created. They are already—you are already increasing time. And generating faster movement and faster manifestations constantly. Which, in a manner of speaking, is somewhat interesting. For you collectively express that you want to be creating faster, and you are creating that. And now it is beginning to move in the direction that individuals are not as pleased with faster as they thought they would be (Anjuli laughs) and want to be moving slower (laughs) but simultaneously continue to want faster manifestations.
ANJULI: What is this about, faster and slower? Uh, why would we want…? Well, huh. Well, let's say not faster or slower, it would be more about, that we want it to be more fluid.
ELIAS: That would be the balance. But generally speaking, before you reach a balance, you explore the poles. You explore the extremes. And that offers you information through experience of what is more efficient. It allows you to experience and evaluate, “Yes, I THINK I want to move in this direction and generate this type of manifestation.” And you do and subsequently you reevaluate and you express, “Perhaps that was not the most efficient, and perhaps I do NOT want to move in this direction, or generate these types of manifestations.” And you move in another direction of an extreme, and allow yourself to experience that, and THEN you evaluate what the balance is.
You have created slowing time and generating long processes to create manifestations. You have created speeding time and manifesting very quickly, and now you may be moving into the balance—
ANJULI: (Chuckles) Okay. Yeah, I see.
ELIAS: —in which you effectively allow yourselves to create, somewhat quickly, but not in an overwhelming manner, in which you begin to feel as though there is not enough time, for it is moving TOO quickly.
ANJULI: So, in general, we in the collective currently, as to this time of the perception wave, are still on creating matters of many extremes, in this exploration. Extremes—
ELIAS: Yes.
ANJULI: —as to fast and slow, but also in other areas.
ELIAS: Yes.
ANJULI: Uh-huh. Then eventual—
ELIAS: To be—
ANJULI: —collective exploration of the weather patterns would also be a part of that.
ELIAS: Yes.
ANJULI: Yeah, but of course we don't think that—most of the collective don't think it is related with exploring dreams, or with the energy of that. But it's about that we see… The collective—many of the collective—explore this scientific perception that the weather is changing the course of… Our cars and various, creating various stuff in the air.
ELIAS: Yes.
ANJULI: Hmm. And I was—
ELIAS: But remember, this all is associated with perception. And therefore as the collective perception moves in certain directions, that is what is created.
ANJULI: So then, we DO create. Because when the collective perceives that because of this, because of our, that due to that the weather changes and the temperature goes higher and because of the higher temperature we are going to experience floods in that area. And all of the scientific, current, very much addressed scientific explorations are because it's true for the collective, then also happening like that.
ELIAS: Yes. And this is the point of this wave addressing to perception to generate more clarity that this is what creates your reality, in EVERY form. And that it is NOT as absolute as individuals think, and that it is also as simple as changing a perception, to change a manifestation.
ANJULI: Mm-hm. Aha. So it's… ah. So it doesn't make how it currently looks for the most of the beliefs for many people in the collective that they think in some years we are going to have that and that and then that and that. And the point of no return is already gone so we can't change back into, or we can't balance our planet anymore. We can just slow it a little bit to put it more, a little bit more into the future, or that's what they think with floods and all the extremes that they think are going to happen. And they… But this is the perception of the moment and we cannot any, of course I know it, but at any point change that.
ELIAS: Correct.
ANJULI: Then change whatever we create about our planet.
ELIAS: Correct.
ANJULI: And for example also our, this much of interest into war games online, computer games, and weather, even weather patterns on the computer game I bought and all of that stuff when what we create is also an exploring of, like I do. But for those who are not THAT aware of it, they do it in a similar way. That they want to think that their reality is a dream and a hologram.
ELIAS: Yes.
ANJULI: And they already explore.
ELIAS: But they are accomplishing the same as yourself regardless of whether they are aware of what they are doing or not.
ANJULI: And what I see as sort of a positive side effect of this current perception about our weather patterns is that there is an increasement of appreciating our earth, and the beauty of nature, right?
ELIAS: Yes.
ANJULI: And so for a collective action of appreciating the earth and considering what is important for us.
ELIAS: Correct. Redefining and therefore, changing.
ANJULI: Uh-huh. And so we even with this perception we could start, we could use this perception to have new preferences and think, “Ah, maybe we don't need our cars, they are so bad for the weather. Now we start to teleport.” (Both laugh) That would be fun, Elias.
But this means we can use whatever perception—even the perception which is, so to speak, not true—and we put something into a truth, and still use this for a very, very shifty beneficial way.
ELIAS: Yes. I would agree. And as I have expressed many times previously, my friend, your science fiction is more real than you think.
ANJULI: That's right.
ELIAS: What you have imagined in your science fiction becomes science fact.
ANJULI: Yeah, right.
ELIAS: If you can imagine it, you can create it.
ANJULI: Ah, yeah. So in our science fiction, in our Star Trek movies, for example, where they have some certain technology to immediately heal a planet when the planet is starting to collapse because of some gases or something in the air or whatever. They do that on the science fiction movies.
ELIAS: Correct.
ANJULI: So this means that the collective creates those movies, those science fiction movies, because we are already aware that we can do that. We already have this perception, otherwise we wouldn't have these movies.
ELIAS: Correct. And they serve as inspirations to create the physical manifestations.
ANJULI: Mm-hm. So this goes now in the direction of what we are sometimes exploring as to our stories. And I for a short… I talk with you about these things outside of sessions and don't necessarily feel I need that much to talk with you now about it. But in general it is realizing when I think of what stories we are interested in and how much the collective—not just children, as you said, but also adults—are interested in stories. So stories, which then could be created into books or movies or whatever, but these stories or these types of explorations, recreate stories as an experience. And they are not just an imagination, they are an action.
ELIAS: Yes, and—
ANJULI: This is a focus.
ELIAS: Yes.
ANJULI: It's the life of a focus. It's not different from that.
ELIAS: Yes. And they are quite real.
ANJULI: Mm-hm. And in our stories, and our fantasy stories it's very often about someone living a quite simple life and then starting to feel, “No, I am not the one I thought to be.” and suddenly seeing… and also, “My world is not what I thought to be.” and they start to go on a quest and on a treasure hunt or some adventure, or whatever. Most stories in our collective are very much with quite intense, dualit—duplicity, or good and bad in there, strongly.
ELIAS: Yes.
ANJULI: Not that much, as I would desire, that the challenges that are created as to make this story funny, or interesting, and, um, are about the unknown, for example, or seeing it… Or some stories are like that, that they are aware that whatever we create in, let's say even in very duplicity creation of very bad, whatever, is a projection from within from their own energy.
ELIAS: Yes.
ANJULI: So, well, somehow I am not creating THAT much, that the collective stories go in that direction. But a little bit, already, of an awareness that they change and that, uh…
ELIAS: But in this, my dear friend, remember: duplicity is also a belief system. It is not being eliminated. And this also is a matter of perception, that you can engage stories, in books or in films, and in these stories that incorporate the duplicity—the good and the bad, the right and the wrong—they are presenting that in a manner that is fun, and entertaining.
ANJULI: Yeah, it's very successful, like the Harry Potter books and movies.
ELIAS: Yes. And in that, it is engaging; it is fun; it is entertaining; and it is not expressed in a manner of absolute.
ANJULI: Yes. That's right. When I think of the Star Trek movies that at first are enemies with some certain aliens and then start to get to know them and to have them as friends, even there.
ELIAS: Correct. And in this, it is a creative expression of duplicity rather than the judgment of the judgments. Rather than continuing to attempt to eliminate the right and wrong, the good and the bad. It is a presentment of them in a manner that DOES include an element of neutrality, for it allows each individual their own perception, and to choose what THEY view as the right or the wrong, or the good or the bad, or the likes or the dislikes.
ANJULI: Mm-hm.
ELIAS: Even in the story that you have mentioned, individuals can choose which character they like or dislike or which character entertains them the most. And some individuals may choose the villains as the most entertaining.
ANJULI: Yeah. And that's also what I very much like about role games, online role games, or computer games with role games where people can choose, “Now I want to go into role of a bad one, a bad guy, and play this role.” And this is a playful expression of some element that you don't want to explore in other ways but in this way you can freely explore it, not judge it.
ELIAS: Correct. And you can incorporate fun.
ANJULI: Yeah. That's right.
ELIAS: In being bad. (Both laugh)
ANJULI: Yeah, and as we are talking about stories, I'm currently so much interested in simplifying everything. And where am I simplifying is when I am playing my identity game by also by being being-ness, being consciousness. That's very simplifying because I'm everything, and I can be whatever person or collective I want to be, whatever story I want to be, is me.
ELIAS: Yes.
ANJULI: And I don't have to, although that was lots of fun to do focus games with you, yeah? So that I suddenly—well not suddenly—but this has changed more and more, because I am not even interested in exploring into details, this is my focus or whatever, because whenever I am drawn to something I know I am everybody. As consciousness, I am everyone. And as consciousness expressed in this focus, at this essence, which has certain preferences, maybe, that focus. I am more in that moment exploring being this person, or this person, or this person, and I really don't mind if that's my focus or not.
ELIAS: (Chuckles) Which, as I have expressed previously, preferences change. And as your perception changes, your preferences WILL change. For—
ANJULI: Mm-hm. And the second preference which changed, or a little bit more changed, it was already there, is that instead of doing a focus game and looking into—which is still fun and can be still fun, it's not an absolute—but that I am exploring, “Now, I am that focus and that focus has this and this experience." I want to be stories. We talked already in one session in detail about my desire of being the story, the own story I am experiencing with you, but all the various stories I am experiencing with you. But any story, it doesn't matter if it's a very… a book or a movie, something that most of us in the collective like. Which character in there, where many are identifying themselves with, and in the past I would asked you, like, “Are you Gandalf in the Lord of the Rings movies?” And now this has completely changed because I can see you in whatever person I want to see you, and that's you. And I can be whatever person, and I don't have to ask you anymore (Elias laughs) if I'm really that person because I know I am it. (Both laugh) And I can be the whole story?
ELIAS: Yes.
ANJULI: Instead of identifying focuses that would be, so to speak, a story identifying. But we don't have to do that because you would always say yes because I know I, whenever I am being something, I am it. (Both laugh) Isn't that fun? (Elias laughs)
What… how would you say, when you are, so to speak, you are not a story. The story is the objective translation. Not even, I don't even see it as objective translation. You would more view that as an action of truth?
ELIAS: Yes. But you are correct. This is an expanded view to recognize yourself as BEING the story, for it is your creation. And your creation is you.
ANJULI: I am even experiencing these stories almost like an individual. You know, like in the past I was experiencing an individual, which I am identifying with and see it as my focus, the story is that much alive. Or is… It's not something abstract, it's really something you can BE and, so to speak, run around with. (laughs)
ELIAS: Yes. You are quite correct. And—
ANJULI: (Laughs) And that's SO much fun, Elias.
ELIAS: I would express my acknowledgement of you, and my congratulations to you, that you have expanded in this manner to allow yourself to experience this type of expanded awareness, which you are quite correct, can be VERY fun.
ANJULI: Yeah, it is. And now I would like to ask you a question. For he would be quite surprised that I have a session today already. We have a new individual in the forum from Serbia. That's Aleksandar. And he recently joined the soft orientation mailing list and he wanted to connect with new people and currently cannot have a session but is interested in his statistics, so to speak. And we talked a little bit about that and he's identifying with all essence families, which I think is quite a shifty experience. (Elias chuckles) But as his essence we were considering about Sumafi, or Sumari, and Gramada. Well today, when I thought about it again, I considered if he's Sumari belonging, Sumafi aligned? Ah, not Gramada, Tumold. I'm wrong, Tumold, it was Tumold. So… or that he has two alignments: Sumari belonging, and Sumafi aligned, and Tumold aligned. But I'm sensing something else and I'm not quite sure what it is. Could be around a fragmentation or it's various. As if there are two, right? I could have said to you he is Sumafi/Tumold and that could be as right as when I asked you, “Is he Sumari/Sumafi.” (Elias chuckles) Am I confused about what I express? Was I clear what I'm expressing?
ELIAS: I am understanding. I would express to you a confirmation that this individual does allow himself to experience the qualities of all of the families more than most individuals. And that can be confusing when you are feeling into that energy and attempting to identify which family is belonging and which family is aligned, for in allowing for all of the qualities of all of the families is unusual. Not that you do not all incorporate qualities of all of the families, you DO, as I have expressed. But you do not generally enact many of those qualities.
ANJULI: But Julie sometimes very much mentions how she's experiencing Milumet family. That's, for example, what she's also doing that she's been very Milumet-y.
ELIAS: Yes.
ANJULI: And allowing herself to experience this quality.
ELIAS: Yes. And generally speaking, if individuals generate an interest in the qualities, or the expressed qualities of other families, they generally will choose one at a time to explore and allow themselves to genuinely experience the qualities of each family, but one at a time. This individual allows for the expression of all of the families consistently. And this is the reason that it may be confusing when you are generating—
ANJULI: For the experience.
ELIAS: Yes.
ANJULI: Okay, would it even be beneficial to ask about his essence family and? Or is it then not necessary at all to—
ELIAS: I can offer that information, although as you are identifying now, it is not as important for him, for he is already exploring, but yes, he is belonging Sumafi and he is aligned Tumold.
ANJULI: Okay.
ELIAS: But you are correct. He is expressing qualities of all of the families.
ANJULI: And these two, what was, is mostly what he mentioned when he… are what he wants to be. (Both laugh) Yeah, and then you will have to say that he's of the soft orientation because he says if you don't say yes, that he's of the soft orientation, he's going to kill you.
ELIAS: (Laughs) I regret the disappointment, but he cannot kill myself, for I am already dead. (Both laugh) But yes, I shall validate, orientation: soft. (Both laugh)
ANJULI: Now I'm going to be very curious if he's continuing to be afraid of you after you are, fortunately, telling him that he's soft, and after all of this cool information that you gave him. (Both laugh)
And essence tone, essence name, is that Jasane (yaw-saw-nay), J-A-S-A-N-E?
ELIAS: Yes.
ANJULI: Ha! I had a similar name, (ih-saw-nay, ~Isane), as a nickname in childhood, and liked to use the word ~(saw-nay). And it means dream. (Inaudible) Now, Elias, how does this all fit together with our talk? (Elias chuckles) Okay, now that's very cool.
I see, well I can, of course, ask more questions, but now we come to Gottlieb. Greetings to you from Gottlieb.
ELIAS: And you may offer my greetings and lovingness to him also.
ANJULI: Yeah, and he says, as you are aware, he's a lot interacting with you about his current creations. And he experienced some changes since the Vienna group session. He was sick at that time and after that time he created some… Well, at first the letter said some sort of disappointment, losing money at the stock market and also a company couldn't pay him the money they owed to him; a company related to his own company. So he lost lots of money and in this, then was very challenged for a while because he wanted to have this money in order to do what he likes. And at that time, when he was very disappointed, I felt it—we didn't talk—but I felt it and called him. And we talked about it and he realized then, after a while in doing our talks, that what he had done was that he thought he at first had to earn money, or do something so that he later can do what he wants.
ELIAS: Correct.
ANJULI: And that he didn't, right away, do what he wanted.
ELIAS: Correct.
ANJULI: And then he created this extreme situation where then I said to him, “Well, if you are already feeling so extreme that you would do that of that action, then you can also do a very unusual action of just entering being an asshole, doing whatever you like without considering how others will react and what the consequences are.” Because, yeah, when you are already considering such an unusual action he was considering.
ELIAS: Yes.
ANJULI: And this changed, then, a lot his energy and his… Ah, he's exploring beingness and he's very happy in that. And wants, also is considering to do on weekends, some sessions or something like that, and is very pleased about that direction he's going. So, you would agree that this was… that he was incorrect thinking, “Now, I first have to earn lots of money so that later I can do what I like.” That this was, so to speak, the… that it was—
ELIAS: This is precisely what I addressed to in relation to the leprechaun.
ANJULI: Yes.
ELIAS: When you are projecting an energy that you MUST generate certain actions as a prerequisite to creating other actions, you are instructing your leprechaun to hold what you want away from you.
ANJULI: Yes. Yes, that's right.
ELIAS: And in that, when you are concentrating so strongly upon the prerequisite, rather than what you genuinely want, your energy changes and it attracts precisely what you are doing.
ANJULI: Okay, this would mean whatever we think about—I also talked with Mary about that—that when we think, “First I need to be surrounded with different people because these energies are not good for me, THEN I can do what I like.” Or, “First I need a romantic relationship, then I can do what I like.” All these types of actions which are instructing our leprechaun to put the fulfillment of the desire into the future.
ELIAS: Yes, and to hold it away from you.
ANJULI: And then this is also what Gottlieb currently is exploring with one of the sons of his wife, and he has lots of troubles with and he thinks once, when he is—currently he cannot do what he likes because, because he had troubles with that relationship and today I talked with him that this could be something similar. If he'd focus on the energies he likes—
ELIAS: Yes.
ANJULI: He is surrounding himself with these energies and not thinking that first he has to remove a person so that he has more time for himself.
ELIAS: Correct. It is not a matter of the other individuals, it is a matter of HIS perception, and what HE is creating. And if he is creating within himself, annoyance, that is what he will attract to himself also. He is already generating that energy, and in generating that energy he pulls to him what matches that, and therefore he creates a child BEING annoying.
ANJULI: But then how to deal with that. Well, first of all, to have his attention on self and on the preferred energies and all that we said. But also (audible exhale)—well, if I'm interacting, for example, with someone who then chooses to have a certain action, to take certain action and, let's say, to move himself to another place, or whatever, and uh—
ELIAS: Correct. It is his choices that are important. Rather than—
ANJULI: So but he creates that child, but he still can do… He can, if he chooses that he wants to have the children to be not in his house anymore, if he would choose, if he would go in that direction to say, “Now I want you to be elsewhere.”
ELIAS: I would express that it is very important that he be paying attention to himself and evaluating within himself, what he is doing, what he is projecting that is creating these situations. And I would express a caution, for let me express to you, you cannot lose love, but you can lose a precious. Love does not die, it does not go away, it does not vanish, and it is not lost, BUT you can perceive some manifestations as precious to you, and you CAN lose a precious. And the manner in which you lose a precious is by not paying attention to what you are doing and not paying attention to what type of energy you are projecting. Even—
ANJULI: This was what I…
ELIAS: Even when that is being reflected to you very strongly and very loudly, you cannot pay attention, and be paying attention to the distraction of outside of yourself to the point of not addressing to what you yourself are doing. And that can move you into a dangerous direction in which you can lose a precious.
ANJULI: Uh-huh. And in this we would, even, we would continue to create once we have, we've got rid of that, or that rid of that by thinking that it's something outside we have to remove, or something outside we have to change. And then create a similar—of course the energy doesn't change—create a similar situation, or a very different situation, but also about annoyance, for example.
ELIAS: Correct. Yes.
ANJULI: Or is it playfulness and fun, then once we are done with one playfulness and fun, we create another playfulness.
ELIAS: Correct. You are quite correct. And I would express to you, in closing, to offer my sincere lovingness to him and his partner.
ANJULI: Okay, I will. Thank you.
ELIAS: And I would request that you also offer my sincere lovingness and encouragement to your mother.
ANJULI: Mm-hm. Yes. I will do.
ELIAS: And validation.
ANJULI: Mm-hm. Thank you.
ELIAS: And to you, my dear friend, great playfulness and tremendous energy of appreciation.
ANJULI: Yeah. Yeah, yeah. We continue our story. Doesn't matter where I translate it, not translate it.
ELIAS: Always.
ANJULI: Yeah, and it's already so much fun.
ELIAS: I express tremendous lovingness to you. Until our—
ANJULI: Yes, I love you too. And please hug Patel for me—
ELIAS: Very well.
ANJULI: And Ordin and the others. Especially with the orange one.
ELIAS: Very well. Until our next meeting, my dear friend, au revoir.
ANJULI: Thank you.
(Elias departs after 1 hour 2 minutes)
Copyright 2007 Mary Ennis, All Rights Reserved.