Queen of Sheba
Topics:
“Queen of Sheba”
“Shape-Shifters”
Tuesday, Sept. 25, 2007 (Private/Phone)
Participants: Mary (Michael) and Jim S. (Bevan)
ELIAS: Good afternoon!
JIM: Well, good afternoon, Elias. I finally allowed myself to talk to you.
ELIAS: (laughs)
JIM: I’ve figured out some problems. In reading the Encyclopedia Britannica article on the Queen of Sheba, my impression is that the Ethiopian version regarding her visit to King Solomon is more accurate than some of the other tales about her. Am I right?
ELIAS: Yes.
JIM: To the Ethiopians, she is Makeda, but I think of her as Belkis. In that, am I expressing Respighi’s preferences?
ELIAS: Yes.
JIM: My impression is that Belkis is a focus of Yevette. Is that the case?
ELIAS: Yes.
JIM: I believe that I have a focus that accompanied Belkis on her visit to King Solomon. Am I right?
ELIAS: Correct.
JIM: I get his name is Tanish and that he is the leader of her guard troop?
ELIAS: Correct.
JIM: I hesitate to use the word love because of the way you have defined it, but, in his own way, I believe that Tanish is very much in love with Belkis, a hopeless love because of the differences in their caste. Am I right?
ELIAS: Yes, you are correct.
JIM: Belkis is aware of his feelings about her and, in her way, returns them?
ELIAS: Yes (reservedly)
JIM: Yes, dubious. (chuckles)
ELIAS: Correct.
JIM: When, during their journey to visit Solomon, Belkis performs her provocative dance before Tanish, it wasn’t just in practice for performing that dance before Solomon, was it?
ELIAS: No.
JIM: Tanish aligns Zuli?
ELIAS: Yes.
JIM: Intermediate orientation?
ELIAS: Correct.
JIM: And political focus?
ELIAS: Correct.
JIM: I feel a rather strong emotional attachment to Belkis. Is that Tanish’s influence?
ELIAS: Yes.
JIM: According to Ethiopian legend, Belkis bore a son who became Menilek I of Ethiopia. Was that the case?
ELIAS: Yes.
JIM: Apparently, historical records indicate that Solomon sired the son, but I suspect that he was sired by Tanish during the journey to visit Solomon. Was that actually the case?
ELIAS: No (drawn out)
JIM: No (imitates Elias and chuckles) All right. It was politically advantageous to Belkis that she bore a son believed to be Solomon’s, wasn’t it?
ELIAS: Yes. That is correct.
JIM: I believe that I have identified the representation of Tanish in the cover picture on the “Belkis, Queen of Sheba” CD that I bought. The representations of Solomon and Belkis are obvious, but I think that the dark figure to the right of Solomon in the picture’s background whose arm and staff extend into the depiction of clouds, I think he is the representation of Tanish. Am I right?
ELIAS: Yes.
JIM: Yes, or…
ELIAS: Yes.
JIM: Okay. In her position as first cellist in the Russian Symphony Orchestra, has Marina Tarasova ever participated in a performance of Respighi’s music?
ELIAS: Yes.
JIM: Has she ever participated in a performance of his Belkis ballet music?
ELIAS: One.
JIM: Yes, no?
ELIAS: One.
JIM: Okay. Did Marianna experience any emotional recognition of Respighi’s music as having been composed by another focus of Bevan? [The name should have been Marina not Marianna. Elias apparently knew who I was talking about.]
ELIAS: Was there an emotional reaction, yes.
JIM: There was?
ELIAS: Was she aware of the other focus, no.
JIM: Ah, yes, that makes sense, Yeah, I understand that. All right. Is the Magda in my Io story a focus of mine?
ELIAS: Yes.
JIM: Her surname is Ionescu, the same as Zelda?
ELIAS: Correct.
JIM: She aligns Vold?
ELIAS: Yes.
JIM: Common orientation and thought focused?
ELIAS: Yes.
JIM: She lives in the 24th century?
ELIAS: Correct.
JIM: She was objectively aware of the probability of her disengagement on Io?
ELIAS: Correct.
JIM: Hale Engstrom of the story is a focus of Mubu. Is he?
ELIAS: Yes.
JIM: He aligns Ilda?
ELIAS: Correct.
JIM: Soft orientation and emotional focus?
ELIAS: Correct.
JIM: Consuela Lopez of the story is a focus of Anna?
ELIAS: Yes.
JIM: She aligns Borledim?
ELIAS: Correct.
JIM: Intermediate orientation and emotional focus?
ELIAS: Correct.
JIM: Okay, you did say yes on that focus of Anna, right?
ELIAS: Yes.
JIM: Okay. Is there a triple helix molecule, such as I have postulated, made up of nucleosides instead of nucleotides as in DNA molecules?
ELIAS: Yes.
JIM: There is. I have the feeling that I have been mentally tiptoeing around another tragic focus, unwilling to face her experience. Have I?
ELIAS: Yes, I would agree.
JIM: I get her surname as Lavery. Have I got that right?
ELIAS: Yes, you are correct.
JIM: I get the impression that her first name is Helen. Is it?
ELIAS: Yes.
JIM: I believe that this focus chose to experience capture by pirates. Is that the case?
ELIAS: Yes.
JIM: She was traveling with her family, I believe from Liverpool to the West Indies?
ELIAS: Correct.
JIM: The pirates murdered her husband and threw her son overboard?
ELIAS: Yes.
JIM: She was repeatedly raped by the pirates and was unable to protect her daughter from similar repeated sexual assault?
ELIAS: Yes.
JIM: In desperation, she stole a knife thinking to cut her daughter’s throat and commit suicide, but was unable to bring herself to do either?
ELIAS: Yes, you are correct.
JIM: She died when the pirate ship was either severely damaged or sank during a hurricane?
ELIAS: Drowned.
JIM: Drowned. Was that during a hurricane?
ELIAS: Yes.
JIM: I had that part right?
ELIAS: Yes, you are correct.
JIM: Okay. I believe that the time frame of this was in the late 1700s. Am I right?
ELIAS: Mid 1700s.
JIM: Mid. All right. Helen aligns Ilda?
ELIAS: Correct.
JIM: Common orientation?
ELIAS: Yes.
JIM: Emotional focus?
ELIAS: Yes.
JIM: I feel that her experience differs from that of Jeanette Meyers in that in Jeanette’s case there was hope, even though she didn’t at first see it. In Helen’s case, I feel that my projection of supportive energy is lost in the maelstrom of her despair. Does my knowledge of her help Helen in any way?
ELIAS: Yes (reservedly) in a manner of encouragement of herself at times to remove herself from the body consciousness.
JIM: Ah! Okay. All right, that takes me into the next part, then. Associated with Helen, somehow, I’m getting what I’ve mentally dubbed as “The Repro Man.” That’s R-E-P-R-O. I suspect that the image that I’m getting is a translation of the form energy of a focus of ours in another dimension. Am I right?
ELIAS: Yes.
JIM: Helen, in a sense, encounters him in her mental flight from the horrors of pirate ship existence?
ELIAS: Yes.
JIM: My image of him is of a skeletally thin body and thin, knobby limbs. I visualize him as unclothed with dusky red skin. I see his face as similar in appearance, complete with tears and a smile, to the face depicted by Rob Butts of the vision he experienced and that Seth discovered in Session 47 of April 24, 1964. (A Seth Book, Early Sessions, Book 2) Is this my translation of the appearance of an other-dimensional focus of Bevan’s?
ELIAS: Yes.
JIM: Is Helen’s translation of his appearance similar to mine?
ELIAS: Similar, yes.
JIM: Similar. Did Rob Butts access the “Repro Man” dimension in his vision of the man with tears and smile?
ELIAS: Yes.
JIM: Why do I label him the “Repro Man?” I don’t get that association.
ELIAS: (chuckles) And you incorporate no impression?
JIM: Not really, no. I don’t, and I don’t know…repro just doesn’t make sense.
ELIAS: (laughs) I would express that it is a shortened version of a word that you generate an association with as being comforting.
JIM: Ah!
ELIAS: It is a shortened version of reproduction.
JIM: Ah!
ELIAS: Not reproduction in the sense of childbirth but in the sense of reproducing self in a different manner.
JIM: Ah! Okay.
ELIAS: And in that it is quite understandable for in generating that connection and projecting that energy in association with this other focus that is what is helpful in allowing her to disassociate from her body consciousness.
JIM: Ah, okay. Good. All right. When I woke a few mornings ago, I heard in my head someone say, “Hello,” and it wasn’t Senta. Was that my translation of a “Repro Man” greeting?
ELIAS: Yes.
JIM: It was. I think I’ve become aware of another Helen focus. I get her last name as Greyling. Do I have a Helen Greyling?
ELIAS: Yes, you are correct.
JIM: I believe that she is a future focus, possibly 22nd century.
ELIAS: Yes, you are correct.
JIM: I get her as aligned Vold, intermediate orientation and emotional focus.
ELIAS: Yes
JIM: My image of her is from her left side, and only from about her hips up. She is standing in a dim location, possibly a forest, and looking down at something in front of her. I see her with dark, shoulder-length hair, tanned complexion, although that tanned complexion may be due to the dimness of the scene. She’s wearing a short-sleeved blouse. I can’t tell if she is wearing a skirt or slacks or shorts. Is that an accurate picture of her?
ELIAS: Yes, this far.
JIM: All right. Would what she is looking at be an animal or reptile of some sort? I don’t think it’s a child.
ELIAS: Yes, you are correct.
JIM: Her emotion is more startlement than fear?
ELIAS: Correct.
JIM: I associate her with South America, but am not sure just where in South America. Is it Peru?
ELIAS: Yes.
JIM: I feel that she lives there, a member of a community of like-minded individuals. Do I have that right?
ELIAS: Yes.
JIM: I have no idea of what they are like-minded about. Can you help me with that?
ELIAS: It is a community that is very much in harmony and communion with their environment with nature and in that they share an action and a manner of being in which they are very aware that they are not separate…
JIM: Ah!
ELIAS: …from all of their environment and therefore they incorporate great care with it.
JIM: Okay.
ELIAS: There is a tremendous expression of nurturing between them and in association with their environment.
JIM: Oh! Okay. Alright. Regarding my focus, Gilgamish, is his first name Brian?
ELIAS: Yes.
JIM: When the opportunity arose, I think Gilgamish engaged in the sort of activity that Helen Lavery and her family were subjected to on the pirate ship. Am I right?
ELIAS: Yes.
JIM: I also think I had Gilgamish in the wrong ocean. I’m getting the impression that, as a pirate, he sailed out of Tulaghi in the Pacific’s Solomon Islands. Am I right?
ELIAS: Yes.
JIM: He got to the Pacific as a member of a tea trader crew sailing from the port of London?
ELIAS: Yes.
JIM: The crew rebelled before they reached China, seizing the trade ship and murdering the captain?
ELIAS: Correct.
JIM: Gilgamish eventually became leader of sorts of the pirate crew that resulted from the mutiny?
ELIAS: Correct.
JIM: I messed up my question to you regarding Gilgamish’s alignment, sexual orientation and focus type so I’m not sure what you agreed to. Let’s try that one again. He aligns Vold, common orientation and political focus?
ELIAS: Yes.
JIM: Yes?
ELIAS: Yes.
JIM: I suspect that it is Gilgamish’s influence that gives me a feeling of comfort when I slide my left hand under my waistband, sort of a support for my pot belly. Is that a Gilgamish action?
ELIAS: (laughs) Yes.
JIM: (laughs) Okay.
ELIAS: Rather seedy character. (laughs along with Jim)
JIM: Alright. What is my gain in circumference supposed to tell me? That there is more of me than I’m aware of?
ELIAS: (laughs) Partially and partially more of you to nurture.
JIM: Ah, yes, that’s true too. (both laugh) Okay. For some reason, I get the impression that I was one of the “Three Musketeers,” specifically, Athos. But “The Three Musketeers” is a story written by Alexandre Dumas, and I don’t think that I’m Dumas, even observing. Yet the impression that I am Athos remains. Do I have a focus named Athos who could be a model for the Athos in Dumas’ story?
ELIAS: Yes.
JIM: Yes?
ELIAS: Yes.
JIM: Did you say yes?
ELIAS: Yes.
JIM: Alright. If you said yes, I not sure I heard the yes or no.
ELIAS: (laughs loudly) I expressed, yes.
JIM: Y-E-S, alright. Alright. I believe Athos’ buddy, Porthos, is a focus of Hardy and Aramis is a focus of Yevette. Am I right?
ELIAS: Correct,
JIM: I believe that I am picking this information out of a dimension other than the one I know. Is that the case?
ELIAS: You are also correct.
JIM: Did Dumas access that dimension and that information when creating his story of the three musketeers?
ELIAS: Partially.
JIM: Partially. In my story that includes Professor Laidlaw’s organization of the Wanderer gestalt, the Wanderer explores a shape-shifter dimension and when the gestalt projects Tessie Latke’s form energy to the shape-shifters, they reflect Tessie’s form energy, but each one seems to project a different version of Tessie’s form energy, each version reflecting how Tessie would appear at a different age. Was that a valid scenario?
ELIAS: Yes.
JIM: Yes?
ELIAS: Yes.
JIM: Would you care to explain that confusion?
ELIAS: What is the confusion?
JIM: Well, the confusion is the Wander is projecting one form energy but all the shape-shifters are projecting different versions of that.
ELIAS: I am understanding but what is the confusion in that expression?
JIM: (starts to answer)
ELIAS: For regardless of any manifestation in any dimension you project many different types of energy simultaneously. Yes, you may be projecting one main type of energy in any moment, but you are always projecting many energies which is the composition of you. Therefore being presented with shape-shifting beings each one may be connecting with a different element of energy that the individual is projecting and therefore chooses to reflect different imagery.
JIM: Ah, yes, I think I see what you’re saying. This is simultaneous time thing, right, where I was thinking in terms of time and age. This is simultaneous time.
ELIAS: Correct. For this is a matter of energy and responding to energy. Even within your reality in which you incorporate linear time, your energy is projecting in many different manners and there are different energies that you project that are associated with different time frameworks continuously. For that is the make-up of you and your identity. It includes other time frameworks for those are energies that you express also for they are in your composition of yourself.
JIM: Uh, huh. Okay.
ELIAS: Therefore in the age that you are for example you continue to retain the energy of when you were four years of age, so to speak. For that energy is a part of your composition.
JIM: Ah.
ELIAS: Therefore if you were to present yourself with shape-shifters that would be reflecting you it would be a matter of each one what energy they would tap into or they would respond to and receive and therefore generate a particular shape and it is understandable that they would all be different. For they will all connect with whatever energy attracts them the most.
JIM: Right. Okay. Very good. That’s a good explanation.
ELIAS: (laughs)
JIM: Excuse me. Were you going to say something more on that?
ELIAS: (laughs) No.
JIM: No, okay. Did I disengage another probable self of mine a couple days before my last birthday, or was that just another arrhythmic heartbeat episode?
ELIAS: Yes you did disengage.
JIM: Another one?
ELIAS: Yes.
JIM: Okay. I’m shedding them like snake skins, right?
ELIAS: (laughs loudly)
JIM: Okay. I’ve been thinking about how I might be using my conceptual sense. My thought is that I use this inner sense whenever my attention is focused on a story, either reading or writing. Don’t I?
ELIAS: Yes.
JIM: Alright. That sense is also used when my attention would be absorbed in watching a movie or TV, wouldn’t?
ELIAS: If you are very absorbed, yes.
JIM: Okay.
ELIAS: For it is the action of experiencing the concept.
JIM: Okay. Yes. Yeah, in other words when I apply my attention…when applied to attention the phrase “immersed in” could be thought of as describing the use of the conceptual sense, couldn’t it?
ELIAS: Yes, quite so.
JIM: Okay. My thought is that use of the conceptual sense is, in effect, a matching of energy. Do I have that right?
ELIAS: In a manner of speaking, yes.
JIM: Okay.
ELIAS: But that can be in a productive manner.
JIM: Ah! Okay.
ELIAS: I express that for many individuals generate an automatic response to the term of matching energy and generate an automatic association that that is bad.
JIM: Ah, okay. Alright. In listening to some classical guitar music, I was reminded of an event where Romeo, the boy that my aunt took in and raised to manhood, played guitar and sang a Mexican love song for my aunt, my wife and me. It was a beautiful performance and, looking back, I feel that his performance was for me, a bleed-through from one or more other lives that we share. Were we lovers in one or more other lives?
ELIAS: Yes, you are correct.
JIM: Do I have Romeo’s essence name in my database?
ELIAS: Yes.
JIM: I do. Is he a focus of Yevette?
ELIAS: Yes.
JIM: Yes. Very good. He belongs Sumari and aligns Gramada?
ELIAS: Yes.
JIM: Intermediate orientation and thought focused?
ELIAS: Correct.
JIM: How many lives does he share with my Aunt Florence?
ELIAS: Three hundred four.
JIM: Wow! No wonder she took him in.
ELIAS: (chuckles)
JIM: Alright. Aunt Florence is a focus of Hardy?
ELIAS: Yes.
JIM: Aligns Ilda?
ELIAS: Correct.
JIM: Soft orientation and emotional focus?
ELIAS: Correct.
JIM: Is my granddaughter, Cait, a focus of Yevette?
ELIAS: Yes.
JIM: Yes?
ELIAS: Yes.
JIM: Alright. She aligns Gramada?
ELIAS: Correct.
JIM: Intermediate orientation?
ELIAS: Correct.
JIM: Political focus?
ELIAS: Yes.
JIM: Her choice of photograph to give me has more significance to me than the railroad scene it depicts, doesn’t it?
ELIAS: Yes.
JIM: I had a purpose in bringing that picture to me, didn’t I?
ELIAS: Yes.
JIM: For it’s right up there on the wall and I see it every time I walk in here. I feel the message of that picture every time I view it, but I feel it is a complex message and I can’t seem to put it into words. Can you help me?
ELIAS: I would express to you that the significance of this picture is its unfolding.
JIM: Right. Yes.
ELIAS: Therefore each time you view it, it unfolds a little more.
JIM: Oh, great.
ELIAS: And in that it is an ongoing gift that is unfolding to you each time you view it.
JIM: Yes.
ELIAS: Therefore it will continuously offer you new impressions and new information.
JIM: Yes. I really enjoy that picture. Are Caitlinn and I participating in a counterpart relationship?
ELIAS: Yes.
JIM: We are. I feel that Dean, the contractor who built and has taken care of our house, is a focus of Hardy, but I don’t get much of a feeling of Sumari for him which makes me question the Hardy association. Still, I have the feeling that he is a focus of Hardy. Is he?
ELIAS: No, but observe … but observes many of that essence’s focuses
JIM: Ah, okay. Alright. Do I have Dean’s essence name in my database?
ELIAS: Yes.
JIM: I do. I don’t know which one he is. Have to work on that.
ELIAS: Ha, ha.
JIM: He aligns Gramada?
ELIAS: Yes.
JIM: Common orientation and thought focused?
ELIAS: Yes.
JIM: The energy exchange between Dean and Paula when she was here was delightful. I suspect that they share a number of focus lives. Could you give me a figure on that for this dimension?
ELIAS: One hundred thirty six.
JIM: One three six. I thought maybe. Alright, There’s probably a reason that the picture of an AIDS positive woman caught my eye other than the fact that she was pictured standing in a field very pregnant and completely naked. By any chance is this woman a focus of Yevette? Her name doesn’t really ring bells for me.
ELIAS: Yes.
JIM: She is. Did you say yes?
ELIAS: Yes.
JIM: Alright, she aligns Zuli?
ELIAS: Correct.
JIM: Common orientation and political focus?
ELIAS: Correct.
JIM: What I’m getting now is that she is a parallel counterpart of Belkis, Queen of Sheba. Is she?
ELIAS: Yes.
JIM: Yes?
ELIAS: You are correct.
JIM: Okay. You told me that I have a focus with Genghis Khan. The only one that I feel fits is Börte Ujin, the first wife of Genghis Khan. Is Börte a focus of mine?
ELIAS: Yes.
JIM: She is. Aligns Borledim?
ELIAS: Correct.
JIM: Soft orientation and emotional focus?
ELIAS: Correct.
JIM: I’m still trying to pin down the essence name of the husband of my dentist. Is he a focus of Patmae by any chance?
ELIAS: Correct.
JIM: He is. I finally got him. (both laugh) Out of curiosity, is there one or more probable realities where Maria Capola’s son is a focus of Valline?
ELIAS: Yes.
JIM: Yes?
ELIAS: Correct.
JIM: Okay. That’s curious. Different probable realities would be different…now wait a minute...[unintelligible]. I believe that essence Jahana belongs Milumet. Am I right?
ELIAS: Yes.
JIM: Does focus Jahana align Milumet as well?
ELIAS: Correct.
JIM: He is common orientation and political focus?
ELIAS: Thought focused.
JIM: Thought.
ELIAS: Thought focused.
JIM: Oh, thought. Okay. I get the impression that Hassan…essence Hassan belongs Vold. Is that the case?
ELIAS: Yes.
JIM: Does Hassan’s focus, Daniel Vickers, align Sumari?
ELIAS: Yes.
JIM: He’s soft orientation and emotional focus?
ELIAS: Soft orientation and religious focus.
JIM: Religious. Oh, moved it up the thought side. Alright. I chided Michael/Rajheem…focus of Rajheem, about his male chauvinism. I don’t think he believes me when I tell him that he lives many lives as a female. When I asked you how many focuses he had in this dimension, you quoted a figure of 977. That has probably changed in this time frame. Could I have a refresh on that number, please?
ELIAS: Very well. One thousand, six hundred, twenty.
JIM: One six two zero. Boy he has taken a jump. Alright. Of that number, how many are female?
ELIAS: Slightly less than half.
JIM: Slightly less than half. Okay. Alright. Are any of those focuses cetaceans? Whales or dolphins?
ELIAS: Yes.
JIM: Yes? If so, how many?
ELIAS: Forty.
JIM: Forty! Really? (Elias laughs) Oh, my! I keep reading about you telling individuals that realization of having disengaged is not immediate and that recognition of predictability serves as a clue. I don’t want to experience that non-realization. I want to know when I’ve finally made it. I want to recognize the energy of my other selves immediately, particularly Muriel. Is there any probability of my accomplishing that?
ELIAS: Yes.
JIM: There is.
ELIAS: Yes.
JIM: That’s hopeful.
ELIAS: (chuckles) Let me express to you, my friend, not all individuals generate that action of reaching the objective awareness and creating imagery. It is a choice. And in that some individuals upon disengagement move almost immediately into the action of transition.
JIM: Right. But I don’t intend to do that. We’ve talked about that before.
ELIAS: (laughs)
JIM: Oh, well. Something changed recently, or seems to have changed recently. Where before, whenever I listened to that particular passage in Menoti’s violin concerto, I sensed an image of Muriel dancing with me in a dim, deserted ballroom. When I listened recently, instead of the ballroom, I got the impression that the image of her behind my left shoulder was dancing. The image of her in the ballroom was not a clear image and while the image behind my shoulder seems clearer even to the extent of allowing me to perceive colors, I see her as a blurred image, like a movie run at high speed. I don’t think this blurring is a matter of identity protection. I suspect that it is the result of a difference in the rate of our perceptions. Am I right?
ELIAS: Partially, and also partially…you are correct in association with the identity element, but you generate this type of imagery purposefully to allow yourself to not be emotionally overwhelmed.
JIM: Yes. I can see that. I would be. Okay. Well, alright. No, I…My next question was “That won’t be a problem post-disengagement, will it?” But that’s a case of emotion again. Right?
ELIAS: No, it would not be a factor once you have disengaged.
JIM: Okay.
ELIAS: For emotion is an objective expression. It is the subjective communication to the objective awareness. That is not necessary once you have disengaged.
JIM: Ah, okay. Yes, I can see that. I noted a similar odd image perception when I lay in bed prior to falling asleep. In this case, it was gray symbols of some sort that were shifting in jumps against a dark background. I wondered at the time if I was missing on-blinks. That’s almost what it seemed like. Is this the result of something similar to that blurred image of Muriel’s?
ELIAS: Yes.
JIM: It is. Alright. I’ve been thinking about my cellist focus, John Witherspoon. I feel that I may have been ignoring him to some extent because of the immediacy of recordings of Marina Tarasova’s artistry. It could very well be that John’s mastery of the cello equals or nears that of Marina, but since John lived long before recording technology appeared, there is no way to compare. Are John and Marina’s skill with the cello comparable?
ELIAS: Very much so, yes.
JIM: Very much so. Are John and Marina parallel counterparts?
ELIAS: Yes.
JIM: Yes. Was John influential in Marina’s choice to take up the cello?
ELIAS: That would be an incorrect manner of thinking… the influence, for it would not be his influence to her to engage the cello, but her choice to engage it and therefore drawing upon his energy to enhance that.
JIM: Okay. Yeah, that’s where I was trying…that’s what I had in mind. Let me put it that way. I didn’t state it right.
ELIAS: Yes, that would be correct.
JIM: Okay, did it work the other way, in that Marina’s mastery influenced John’s choice?
ELIAS: Yes.
JIM: Do I have Ralph Waldo Emerson’s essence name in my database?
ELIAS: No.
JIM: No, I didn’t think so. May I have his essence name, please?
ELIAS: That has been offered.
JIM: Oh, it has been offered.
ELIAS: Yes.
JIM: Okay, alright. I bought a book of Emerson’s writings and lectures and then couldn’t bring myself to read it. I think the difficulty lay in the manner in which he expressed his thoughts. I found his recorded energy heavy going. Was there any other reason that I couldn’t get through that book?
ELIAS: Yes.
JIM: There is.
ELIAS: You do incorporate a focus in that time framework with that individual not as a friend.
JIM: Ah! (enlightened) Oh! Oh, how interesting!
ELIAS: In which that focus incorporates a perception of that individual that is one of disgust, dislike and the perception that the other individual incorporates little if any talent. (both laugh)
JIM: Oh, my! I’m gonna have to look for that one, for sure.
ELIAS: (laughs)
JIM: All right. Is my future focus, Oscar Delarocha an American, living in or near New Orleans?
ELIAS: Yes.
JIM: Yes. Do I have Paul Sorenson’s essence name in my database?
ELIAS: Yes.
JIM: I do. Is it Mubu?
ELIAS: No.
JIM: No. That’s another one I’m going to have to look for.
ELIAS: (laughs)
JIM: Aaah! I think I’ll look…he is in my database, right?
ELIAS: Yes.
JIM: No or yes?
ELIAS: Yes.
JIM: Yes. So I’m going to have to look for it. Okay. I notice that I have two Marsha Sorensons in my database, one a focus of Valline and one a focus of Bevan. Is that correct?
ELIAS: Yes, you are correct.
JIM: Regarding the Algerian woman focus of Liam that Claude Montcrief takes as a mistress, is her given name a’ishah, the same as Mohammad’s third wife?
ELIAS: Yes, you are correct.
JIM: I was pleased when my wife said that she was paying attention to intuition…to what felt right and what felt not right. Since she seems not very interested in the information I have gained through reading and through talking with you, I’m wondering if the energy that I project…not necessarily spoken or directed to her…has influenced her in this direction.
ELIAS: Yes, I would express very much so.
JIM: Good. Could my wife and my recent efforts to get rid of accumulated stuff be considered symbolic of transition?
ELIAS: Yes.
JIM: I know that I am in transition. Is my wife?
ELIAS: Correct.
JIM: She is. When you indicate that I observe a focus, I keep forgetting to ask if I observe for a lifetime or not. As of this time frame, you have confirmed that I observe 38 focuses and in only one case have you indicated that it is a lifetime observance. I believe that there are more. Do I observe Belkis for her lifetime?
ELIAS: Yes. I would express that the reason that I indicated that in association with that one was to validate the strength of your connection.
JIM: Oh! (enlightened)
ELIAS: I would express to you that in all of these that you have presented the question and I have expressed that you are observing, it would a lifetime.
JIM: Oh, it would be a lifetime.
ELIAS: Yes.
JIM: Oh, interesting! Okay.
ELIAS: Generally speaking, although not always, I do indicate if it is partial.
JIM: Okay. Alright. Then I’m not going to go through this list of people that I observe. I’ll just assume that they’re all lifetime. Is that a good observance…a good assumption?
ELIAS: Yes, you are correct.
JIM: That’ll save some time here.
ELIAS: (chuckles)
JIM: Does Mary Serott align Vold?
ELIAS: Yes.
JIM: Common orientation and emotional focus?
ELIAS: Correct.
JIM: Does Oedipus align Sumafi?
ELIAS: Yes.
JIM: Soft orientation and emotional focus?
ELIAS: Correct.
JIM: Does Meyer Lansky align Vold?
ELIAS: Yes.
JIM: Is he intermediate orientation and political focus?
ELIAS: Intermediate and thought.
JIM: And thought?
ELIAS: Yes.
JIM: Oh, alright. My goodness. I assume that there is some significance in our receipt from our newspaper carrier of two copies of each daily newspaper instead of one, but I can’t see it. Can you help me understand that?
ELIAS: It is imagery associated with repeating or repetition and it is also imagery associated with perception.
JIM: Oh. How so?
ELIAS: In offering a repeat of the newspaper it is a matter of noticing differences in perception in the response or the usefulness or the lack of usefulness to the double of the paper.
JIM: Okay.
ELIAS: In this, it is a matter of the difference of your perception and the difference of your present perception.
JIM: Okay.
ELIAS: (chuckles)
JIM: Kind of curious. Okay. Now my next question says, “It’s easy to get trapped in comparisons, isn’t it?”
ELIAS: Yes.
JIM: It’s very easy. I experienced that recently during a forum discussion of a member’s revelation of interaction with a future focus. I know what I have experienced in interaction with future focuses and it has been nothing like that described, yet I feel that my experiences have been just as valid. Am I right?
ELIAS: Yes, you are quite correct.
JIM: Has this person interacted with a different probable dimension than I have?
ELIAS: Not necessarily.
JIM: Not necessarily. Okay. I’m beginning to think that my ability to discover and interact with other of my selves depends on my emotional reaction to their energy. Is that the case?
ELIAS: Yes, I would agree.
JIM: It doesn’t matter whether my reaction is positive or negative, though, does it?
ELIAS: No. It is more a matter of the intensity.
JIM: Intensity. Oh, intensity. Alright. Quite often upon awakening, I hear somebody talking, but not with my ears. I assume that this is part of an energy exchange that I am carrying on or experiencing in dream state. Am I right?
ELIAS: Yes.
JIM: Okay. Part of that, but not enough to make any sense of.
ELIAS: (laughs) But I will express to you that it is not always necessary, for you assimilate regardless and, in that, you generate into action rather than thinking.
JIM: Okay. Alright. Now my last question. I think we’ve got time for it. I wasn’t sure if we would have or not. Your playfulness and Patel’s seems to be directed at electrical appliances in the physical reality that my perception creates. Are you or some other playful essence also responsible for my occasional perception of loud thumps or tip-over noises that I sometimes hear when I’m alone in the house? I imagine that it would be great fun watching me investigate and find nothing.
ELIAS: Ha, ha! Yes, you are correct. (both laugh) Although I am fond of electricity, I do enjoy generating playfulness in other manners. (both laugh).
JIM: I enjoy being played with, too, Elias, whether I chase around the house or not.
ELIAS: (laughs)
JIM: Okay. That it then. Thank you, Elias.
ELIAS: You are very welcome, my dear friend. I shall be anticipating our next meeting and more playfulness.
JIM: Right! (both laugh)
ELIAS: And perhaps we shall enjoy a hearty laugh.
JIM: Yes, indeed.
ELIAS: (laughs) To you, as always, in tremendous appreciation and in great lovingness, au revoir.
JIM: Au revoir.
Copyright 2007 Mary Ennis, All Rights Reserved.