Dismantling the Shrine of Reverence
Topics:
“Dismantling the Shrine of Reverence”
“Chapter Focuses/World Views”
“Whining and Dining”
Saturday, October 21, 2000-1
© 2001 (Private/In Person)
Participants: Mary (Michael), Carter (Cynthia), and a new player,
Sharon (Camdon). This is the first of six sessions held in Alabama.
Elias arrives at 2:20 p.m. (Arrival time is 25 seconds)
ELIAS: Good afternoon! (Grinning)
CARTER: Good afternoon to you, Elias.
ELIAS: (Chuckling) Welcome!
SHARON: Welcome!
ELIAS: (Chuckling) And how shall we proceed this day?
CARTER: Elias, I have a few questions on chapter
focuses.
ELIAS: Very well.
CARTER: I was speaking with Muriel recently in reference to a
session she had. We were talking about chapter focuses, and using
the imagery of chapter focuses falling within a particular book, and she
used the terminology, for instance, “the Elias book” for the book which
these particular focuses are participating in. She also said she
understood that there were six chapters in this particular book, and that
another one had been identified as the period during the French Revolution.
(This has also been termed “the shift book.”)
ELIAS: Correct.
CARTER: And I was reflecting on it, or working towards identifying
the other times periods and geographic areas, and I was curious about my
connections. Tyl refers to “the Judea period” during the time of
the Herods, and I wondered if this was a chapter in the book.
ELIAS: In relation to this particular movement of chapter focuses,
no. This would be related to a different movement of chapter focuses,
in actuality.
CARTER: Alright. Caroll suggested that there was a future
chapter, and I was wondering, if so, if perhaps that would be within the
city.
ELIAS: You are correct.
CARTER: I also wondered if a chapter might be involved during
the Ottoman Empire, during its expansion; during the period of Suleiman
the Magnificent, when he was a sultan. (Pause)
ELIAS: No.
CARTER: And then the last one, which was suggested also by Caroll,
is possibly during the Egyptian period, maybe during the time of the construction
of either the Sphinx or some of the great pyramids.
ELIAS: Not within a focus which manipulates the attention in the
direction of construction of these structures. But yes, there is
one chapter focus in relation to this movement that is within that time
framework, but the individuals that participate in that chapter focus are
not focusing their attention upon the construction of these structures.
CARTER: They just happen to coincide.
ELIAS: Correct. I may also offer to you the identification
of another chapter focus which may be recognized within a time framework
that you identify in relation to medieval times, within that which you
recognize now as the British Isles, and within that focus, there are many
individuals participating surrounding the interaction and directions of
what may be termed within that time framework as a wizard.
You shall notice within these chapter focuses that there are similarities
in the movements of the individuals, the direction.
Now; you may look to this one focus which is occurring within the physical
location of France, within the revolution, and express to yourself confusion
that it may not necessarily appear to move in relation to the direction
of the other focuses. But in actuality, it provides a useful element
of movement in the motivation of change in a dramatic expression, [and]
therefore provides a recognition of energy within the other focuses of
this type of movement, which may almost be viewed as violent.
CARTER: So it’s a catalyst, so to speak.
ELIAS: It is an action of familiarizing. This shift in consciousness
creates dramatic change which also involves trauma, and in some expressions
of that trauma, it may be viewed as violent. This may be viewed also
in the concept of revolutionary. That particular expression of revolution
differs from other revolutions that have occurred throughout your history,
for it was created in a type of movement that you may objectively view
as stopping and starting and stopping and starting — ongoing.
Therefore, as you view your history, you may find it difficult to identify
in actuality the movement of what you classify as the revolution itself
and when its actual occurrence was manifest, for it may be identified in
several time frameworks within a period spanning a hundred years of your
time. The actual revolution was not ongoing constantly, so to speak,
without break in its expression within that hundred years, but in another
manner of speaking, it was continuously ongoing.
This particular expression of revolution mirrors the movement within
this shift in consciousness, in which you view throughout a period of more
than one hundred of your years an objective recognition which appears to
be stopping and starting. In actuality, it continues in its movement,
but you view bursts of energy that you may associate with this shift in
consciousness. Therefore, this particular expression of that particular
revolution sets a type of familiarity with the movement of energy.
CARTER: Would this type of expression or a similar expression
take place in the various chapters of this book that we speak of? (Pause)
ELIAS: Partially; not to that extent. Each of these chapters
focuses upon certain movements in relation to this shift in consciousness,
allowing the essences in participation with that movement to become familiar
with different avenues of expression and perception.
Within the time framework and location of what you identify as the Egyptians,
the pyramids and pharaohs, there is an expression of manipulation of energy
in relation to physical healing, or the recognition that individuals within
physical focus may be manipulating energy in physical manners to be manifesting
different types of expressions that many other time periods view as impossible.
Therefore, there is an exploration of a particular type of movement which
relates quite directly to this shift in consciousness.
Within the time period that you view to be medieval and the following
of this wizard, it offers a difference in perception which you now view
in relation to metaphysics and a different type of manipulation of energy,
allowing you a familiarity with opening to your periphery and widening
your awareness.
The future focus lends also to the familiarity, to be offering an expression
that minimizes trauma, [and] offers a familiarity that you assimilate in
this time framework and allow yourself a sense, so to speak, of safety
rather than fear.
Therefore, each focus in the chapter focuses offer[s] a different expression
that all move together in the same subject matter.
CARTER: What is the name or was the name of the wizard?
ELIAS: (Grinning) And shall you not offer yourself the challenge
to be identifying of this individual?
CARTER: Merlin?
ELIAS: No.
CARTER: Alright. (Laughing)
ELIAS: Ha ha ha! Quite obvious!
CARTER: Yes, too obvious! (Laughter)
ELIAS: Ha ha ha ha ha!
CARTER: And I’ll work on the time period also, other than medieval.
ELIAS: Ah!
CARTER: So as I understand it then, it would be Egyptian, the
French Revolution, the present, the future in the city ... did I mention
the British Isles already? And the Judea was no, and the Ottoman
was no. So that’s five, I think is correct.
ELIAS: Correct, and you may attempt to be discovering the other!
CARTER: (Laughing) Alright. Well, thank you very much.
I appreciate it.
ELIAS: You are quite welcome. (Chuckling)
SHARON: So, good afternoon, Elias.
ELIAS: Good afternoon!
SHARON: And how are you?
ELIAS: (In unison with Sharon) As always! (Laughter)
HA HA! And you are anticipating another response? (Chuckling)
SHARON: Oh, not in the slightest!
ELIAS: Ha ha ha!
SHARON: Not at all! It’s very nice to meet you objectively.
ELIAS: And you also! And how shall you proceed this day?
SHARON: I’m curious about my connection to you.
ELIAS: Ah, and what is your impression?
SHARON: Oh, it’s very intimate, very close. I can’t define
it; perhaps a professional connection and a personal connection.
ELIAS: In identification of other physical focuses within this
particular dimension?
SHARON: I don’t understand. I’m identifying as a writer.
I’m identifying, though, with a group of people — not a single entity,
but a group entity — and a lot of information is coming through, almost
too much.
ELIAS: Ah! (Grinning)
SHARON: (Laughing, and Elias chuckles) Is this like an Oscar
Wilde, or is this a Mark Twain, or is this a combination?
ELIAS: You do participate within that particular focus.
SHARON: The Oscar Wilde focus?
ELIAS: Yes, you are correct.
SHARON: And that participation is very intimate?
ELIAS: Briefly.
SHARON: Oh, okay....
ELIAS: (Humorously) Although I may express to you, my friend,
that once you have absorbed yourself in the presence of this individual
and experienced the fullness of the attention of this individual, it becomes
an everlasting impression! HA HA HA HA HA HA HA! (Laughter)
SHARON: Okay, and I experienced it in this focus also?
ELIAS: Ha ha ha! I may express to you, yes, within that
focus, there is a brief encounter in intimacy.
SHARON: Very electric. It was blue; very electric! (Elias
chuckles) And it sparked! Yeah, thank you! (Much laughter)
It was quite cool! (Laughing)
ELIAS: You are quite welcome! ‘Tis my pleasure! (Chuckling)
SHARON: (Laughing) No, it was mine! Trust me, it was
mine!
ELIAS: Ah! Therefore, we share the pleasure! (Laughing)
SHARON: Yes, we do share! (Laughing)
So, the writing — you help me with the writing? It’s partially
my creativity, and partially yours? My question is that when I write,
sometimes I have the feeling that there’s a piece that’s yours, and you
sign it. Do you do that?
ELIAS: It is an offering of energy in inspiration.
SHARON: But you sign it?
ELIAS: It is what you may view as an energy signature, although
it is an offering of inspiration, and is not an actual direct expression
of my energy channeled to physical form, for this is unnecessary.
What IS expressed is a movement in mergence with your energy, and NOT
an interference ...
SHARON: No, it doesn’t interfere.
ELIAS: ... of my energy to be creating any obstacle for your energy
to be freely expressed. Therefore, in this mergence, there is created
an allowance for a free flow.
SHARON: Okay. But you think it’s funny at times? I
mean, you think it’s humorous!
ELIAS: Quite!
SHARON: And you laugh! You go, “This is hysterical.
This is good!”
ELIAS: (Humorously) I am QUITE amused ...
SHARON: (Laughing) Yes, you are amused!
ELIAS: ... with the energy exchange, and the production which
is created in relation to that energy.
Let me express to you, it is quite pleasurable to myself to be engaging
fun and playfulness, and as I may be moving in conjunction with any physically
focused individual that is COMPLIANT with playfulness and fun, I shall
be quite expressive in relation to that individual, and this is what you
are noticing of. Far too many individuals within your physical focus
are FAR too serious!
SHARON: Well, yeah! No shit! (Everybody is cracking up)
Yeah, we’re way too serious!
ELIAS: Ha ha ha!
SHARON: (Laughing) Okay, so like about 1989, I made a decision
to write spiritual humor, ‘cause I thought it was all far too serious.
I mean, this is like, we’re taking it too serious! This is another
religion! (Elias chuckles) We’re making up rules, you know?
Let’s genuflect and cross ourselves, and what’s going on? (Elias chuckles
again) So, I want to know why all of a sudden that just came to me.
Did I ask for that?
ELIAS: No. You have allowed yourself to be objectively realizing
another expression and avenue of your intent in this individual focus ...
SHARON: Which is Tumold.
ELIAS: ... and in that expression, you allow yourself to seek
out avenues that shall offer information to other individuals, figuratively
speaking, as a wake-up call.
SHARON: Okay. So the alarm is going off — ding ding ding!
(Elias laughs) The 2001 alarm is going off!
ELIAS: And I express great acknowledgment and encouragement for
your continuation in this expression!
SHARON: Thank you. (Elias chuckles) Thank you! (Laughing)
And I have no idea where it’s going.
ELIAS: And it matters not!
SHARON: No, I know it matters not....
ELIAS: Ha ha ha ha ha!
SHARON: But it’s such a surprise....
ELIAS: For what holds significance is the now, and where it IS.
SHARON: Yeah, okay. Can I ask you about other focuses?
Very strong Egyptian focuses ... and the Sumari alignment, is that the
Egyptian?
ELIAS: Not necessarily, although I may express to you that you
do hold a focus within that time framework that is in that expression objectively.
But do not be associating the entirety of the Egyptian movement as aligned
with the expression of Sumari, for all of the essence families are expressed
within that also.
SHARON: So there is a lot of energy, though, that comes from that.
ELIAS: In a manner of speaking. There are many, many, many
individuals that are manifest within that physical time framework and are
participating in the movement of energy of that culture, and as you are
experiencing all of your focuses simultaneously, certain focuses that align
with strongly expressed cultures appear more obvious to you objectively
than other focuses, in similar manner to your objective memory and the
function of your objective memory.
If you are creating an event within this focus which holds tremendous
energy, and you view this to be quite significant within your focus, you
shall also create an objective memory throughout your focus of that event,
and you shall not be forgetful of it. There are other events within
your focus that you may deem to be mundane, and you may not choose to be
objectively remembering of them as readily.
In similar manner, you create an underlying knowing and memory of other
focuses, those that express strongly in their direction and their expression
of energy. You identify the draw.
SHARON: Can I ask you this? In different expressions of
writers, especially in the area of humor, is there a central pool to draw
from, like a combination of ideas? (Pause)
ELIAS: In a manner of speaking, but let me be clear. Each
individual that manifests within your physical dimension creates energy
deposits, and creates what has been termed as a world view. This
is essentially an identification of a type of energy deposit within consciousness.
Now; understand that you are all of consciousness. Therefore,
there is no larger entity than yourself floating about in some elusive
cosmos which is other than you, and there is no force within consciousness
that categorizes certain expressions of energy deposits or world views
and sections them by expressing, “All those that have chosen to be writers
shall be categorized in this area and shall be available to all future
writers. All those expressing architectural movement shall all congregate
in this area of consciousness and shall be accessible to all future architects.”
No.
But be remembering, you are all of consciousness. There is no
expression of consciousness that is not you. Therefore, you hold
the ability — and many individuals in actuality do create this type of
movement — to be creating your own categorization or your own inner reference
system, so to speak.
Therefore, YOU move the energy of all of these like expressions into
an area within you — as consciousness — that you may tap into as you are
so choosing. You mirror this action within your actual physical objective
movements — you create what you term to be filing systems.
All that you create within your physical objective reality, you also
create within other expressions of consciousness. The imagery may
be expressed differently, but the movement is the same.
SHARON: Okay, so it’s a pool. It’s just a giant ... it’s
air! Is it air?
ELIAS: Ha ha ha ha! Quite likened to!
SHARON: (Laughing) Yeah, it’s just air, and it’s everywhere!
ELIAS: Quite!
SHARON: Oh! And you get whatever you want! (Laughing, and
Elias chuckles) Am I emotionally focused?
ELIAS: Yes.
SHARON: And my intent is Tumold, and this is to heal through
writing?
ELIAS: Each individual holds an individual intent. You also
express the qualities of the intents of the family that you are belonging
to and the family that you are aligning with within any particular focus.
But each individual is highly unique, and therefore, you also express an
individual intent which is of your design and your choice of direction.
Therefore, you are influenced by the qualities of the families, and
you choose how you shall be expressing that influence uniquely, engaging
your unique expression of creativity.
You have chosen within this focus to be expressing your intent in the
creativity of an outward expression to other individuals — and also for
yourself — in turning the viewing of religious beliefs.
Individuals within physical focus identify spirituality to be synonymous
with religion. Regardless of how vehemently they may express to the
contrary and how they may rail against this statement, their idea, their
concept of spirituality, is derived through religious beliefs.
SHARON: Oh, absolutely!
ELIAS: And therefore...
SHARON: I offer them...
ELIAS: ...an alteration.
SHARON: Baby cheeses!
ELIAS: HA HA HA HA! (Sharon cracks up) And the baby Buddha!
SHARON: And the baby Buddha!
ELIAS: HA HA HA HA HA HA HA!
SHARON: And you gotta keep baby cheeses refrigerated, or it’ll
go bad! (Laughing)
ELIAS: HA HA! And lest we forget, the baby Allah!
SHARON: And the baby Allah! Yeah, all of ‘em! Cover
all our bases, right? Every one of ‘em! (Cracking up)
ELIAS: Ha ha ha! And such a delightful plate this shall
create for any individual to be consuming!
SHARON: Oh, that’s so true! It’s like the blue-plate special!
ELIAS: Quite!
SHARON: And it’ll have all the varieties of a smorgasbord!
ELIAS: Ha ha ha ha ha ha! And we may become QUITE irreverent
and express that you may order several baby Buddhas, for they are quite
plump! (Grinning, and Carter loses it)
SHARON: That’s true, and you should have like holy water to go
with that.
ELIAS: HA HA!
SHARON: And a little wine! (Cracking up)
ELIAS: (Laughing) I assure you, you shall be witnessing
the whine with this meal!
SHARON: I do, yeah. I witness the wine a lot. (Elias cracks
up) I’ve been witnessing a whole lot lately! (They’ve all lost it
now) And I realize this is not bad, but it could be expensive!
ELIAS: No, no, no. Not very expensive. What shall
it cost you merely to be observing all of the whine that occurs with the
serving of this meal? For I may express quite definitely, I have
heard the whine that is being expressed with this type of meal, and how
irreverent it may be! Whine, whine, whine, whine, whine! (With a
self-satisfied grin, and chuckling humorously)
SHARON: Okay, okay, okay! (Laughing)
ELIAS: HA HA HA HA!
SHARON: Fine with me!
ELIAS: We shall be quite playful together, my friend!
SHARON: Oh, we already have been!
ELIAS: And dismantle this shrine of reverence! (Chuckling)
SHARON: Dismantle the shrine, okay. Piece by piece, though.
ELIAS: Quite.
SHARON: Yeah. You can’t just take out the bottom brick and
the whole thing falls down.
ELIAS: You may, but you may also be creating trauma in that action!
(Chuckling)
SHARON: Just start at the top and dismantle down. Yeah,
okay. This is not distorting, though? Is this distorting, or
just playing?
CARTER: Yeah, the Sumafi cops always seem to come down if there’s
distortion!
ELIAS: Ah! This is playful, and it is purposeful play. (Grinning)
SHARON: Oh, absolutely. I mean, there’s a purpose, there’s
a message, and there’s fun! And it’s everywhere, and not everybody
gets it.
ELIAS: Quite.
SHARON: Yeah. (Elias chuckles) But those that do take what
they need? (Elias nods) Okay. So is there a better way I could
... no, better is wrong....
ELIAS: AH!
SHARON: This is an opportunity!
ELIAS: Quite!
CARTER: That’s a double judgment — better is wrong! (Laughing)
SHARON: Is there a way....
ELIAS: Ah! Look to your expression of acceptance!
And what shall she say to this? Ha ha ha ha ha ha HA!
SHARON: Never mind!
ELIAS: HA HA!
SHARON: I withdraw the question! (Laughing, and Elias chuckles)
Okay, I’m curious about other focuses, and I’m curious about the families
and alignments for my children. Can I ask that?
ELIAS: If you are so choosing.
SHARON: Yeah. Glen, my son Glen — his family, his alignment,
his orientation. (Pause)
ELIAS: Essence family, Sumafi; alignment, Borledim; orientation,
common.
SHARON: And my son Greg — family, alignment, orientation. (Pause)
ELIAS: Essence family, Sumari; alignment, Milumet; orientation,
intermediate.
SHARON: And my other focuses? I don’t think I’m in that
capacity yet, to trust myself and those impressions that I receive, so....
ELIAS: Ah! Then I shall be encouraging of you ...
SHARON: I know!
ELIAS: ... and challenging of you to BE allowing yourself this
expression of trust.
I shall express to you in this now, you have allowed yourself a tremendous
expression of trust in your creativity. Afford this to yourself in
your knowing of yourself also. This is your projection outward, your
expression of creativity that you project outwardly, which offers you information
and offers information to other individuals, as I have expressed.
Afford yourself that trust inwardly. And I may express to you, the
impressions that you allow are not imagination.
SHARON: Yes, I understand.
ELIAS: They are quite real. Therefore, as you recognize
your impressions, stop momentarily and acknowledge yourself, that you have
offered yourself an impression that is quite real.
SHARON: Okay. So sometimes I need to read my own writing
to understand.
ELIAS: Ah! Yes! (Grinning)
SHARON: So I write it, and then go back and read it with a different
understanding.
ELIAS: And a difference in perception.
SHARON: Yeah, the perception changes.
ELIAS: Yes.
SHARON: So I’m writing for me, and sharing it.
ELIAS: Both, yes.
SHARON: It’s very informative stuff. (Laughing, and Elias chuckles)
It’s also very enjoyable, very creative.
ELIAS: This is the expression of your creativity. It is
the expression of your pleasure.
SHARON: Yes, very much so.
ELIAS: Therefore, it shall be quite enjoyable!
SHARON: Okay. Wow. And having to do with chapter focuses,
am I like a final chapter? (Pause)
ELIAS: I shall express to you, in relation to chapter focuses,
you ALL within this particular time framework are participating in a final
chapter, for you are participating in the construction and the insertion
of this shift. Even the future focus is not identified as the final
chapter, for the future focus lends energy and familiarity to this focus,
and this time framework is the point. Therefore, in relation to chapter
focuses, many, many, many chapter focuses are culminating within this particular
time framework as the theme of the book, so to speak.
As to the identification of final focus, what is your impression?
SHARON: Oh, in the case of final focus? I feel as though
I were gathering strings, and each focus is a string, and now I braid them
together to make the rope that ties it all together. Whether that’s
a final focus, I don’t know.
ELIAS: No.
SHARON: I’m not a final focus.
ELIAS: No.
SHARON: But I feel like I’m cooking or baking something.
ELIAS: Correct.
SHARON: So I bring it all together, and it rises and bakes, and
is ready to be eaten and shared, and it’s enjoyable ... and we can have
wine with it!
ELIAS: HA HA! Or not!
SHARON: Or not!
ELIAS: Ha ha ha ha ha!
SHARON: As you choose! (Laughing)
ELIAS: Or you may be consuming the type of wine that you may be
drinking! (Laughing)
SHARON: Well, I had that in mind, yeah! (They both laugh)
So, it’s a great message. It’s a wonderful message. If I
were to identify it, I’d say it’s maybe on page 62, kind of called a climax.
Are you with me here? (Laughter, and Elias chuckles) So we’re doing
the chase, we’re doing the chase scene, and then we’ll come down and there
will be like final credits later on. (Laughter) So this is the part
where if you were eating popcorn, you’d be eating it real fast, ‘cause
it’s kinda exciting!
ELIAS: Ah, the culmination. (Nodding humorously) ()
SHARON: The culmination, yeah. It comes all together.
ELIAS: Correct. (Grinning)
SHARON: Okay, but it’s quite lengthy.
ELIAS: And has been!
SHARON: And has been. So it has many pieces and parts to
it. (Elias nods) It’s a lot of fun. Thank you. I thank
you for your help.
ELIAS: You are very welcome, and I shall continue to be offering.
SHARON: It feels very good. It’s very comfortable.
Wow.
And the imagery, the animal imagery — the dragonflies, the moths.
I get a lot of moths that come in and hover around the light. It
has a lot to do with the lights. Sometimes they fry themselves.
And now I have crickets, a lot of crickets. They’re taking over.
They come in my house, they hang around. What represents crickets?
Are they good luck?
ELIAS: Ah, and what is your belief as to these creatures, and
why you draw them to yourself?
SHARON: That they’re good luck.
ELIAS: Ah, and therefore you draw them to yourself as an expression
of validation and comfort.
SHARON: And the validation at one time was outside, but now they
come in. You open the door, and the little ones come in. The
big ones are just kinda hanging out there, but the little ones come in.
ELIAS: And view your own imagery in symbolization.
SHARON: Little by little, the validation comes in.
ELIAS: Correct.
SHARON: It just kinda crawls in....
ELIAS: Ha ha ha ha ha ha! (Sharon must have been goofing around
here ‘cause Elias is laughing at something, and so is Carter...)
SHARON: It hangs around the bottom of the table (laughing) and
peers over, but the big ones are coming in, yeah, they’re coming in. (Elias
chuckles) So, it’s self-validation?
ELIAS: Yes.
SHARON: And it’s comfortable. Thank you.
ELIAS: You are very welcome.
SHARON: Do we have a time limit?
CARTER: I think, if you don’t have anything pressing, it’s probably
a good time....
SHARON: No, I don’t have anything pressing, but I do ask, or will
recognize rather, the assistance and the presence, and appreciate it.
CARTER: Hear hear!
ELIAS: You are welcome, and it shall continue to be offered, as
always. I express great affection to you each, and we shall continue
within our interaction ... playfully!
CARTER: Hear hear!
ELIAS: PLAYFULLY!
CARTER: Yes, yes! (Laughing)
SHARON: Playfully! (Laughing) With wine — don’t forget the
wine!
ELIAS: HA HA HA HA HA! (Much laughter)
I express to you each in great lovingness, until later, au revoir.
SHARON: Au revoir.
Elias departs at 3:12 p.m.
FOOTNOTES:
(1) In viewing the tape, it seems obvious that
this is a tongue-in-cheek comment, but Elias didn’t continue in that direction.
My guess is that if asked, he would have more to say about the idea/concept
of culmination.
© 2001 Vicki Pendley/Mary Ennis, All Rights Reserved
Copyright 2000 Mary Ennis, All Rights Reserved.