Session 809
Translations: ES

A Balanced Little Sapling


"A Balanced Little Sapling"

Friday, March 30, 2001 (Private/Phone)
Participants: Mary (Michael) and Jim (Yarr)
Elias arrives at 11:36 AM. (Arrival time is 24 seconds.)

ELIAS: Good morning!

JIM: Ah, good morning Elias! (Elias chuckles) It’s a beautiful day. (Elias laughs) I have a few questions and some things I’d like to review from the past with you this hour, if I may.

ELIAS: Very well.

JIM: First, a couple of just kind of fun ones: this Yoda in the tree that I’m putting before myself, I’ve developed quite a fascination for the green little squishy guy. I was wondering if you could give me some of your perspective on my fascination here lately.

ELIAS: (Chuckling) Offer to myself, first of all, your impression.

JIM: I guess for a major part I like what he stands for, who he is, how he presents himself, and his confidence and assurance within his character, personality. It kind of serves as a reminder of my own self, in a way. And perhaps there’s a connection there also within dimensional reality?

ELIAS: You are correct in the offering of both of these impressions. I may express to you that the latter impression is less incorporating of strength than the first impression. There is some aspect of your allowance in this time framework of yourself to be incorporating a fuller awareness of yourself as essence which focuses attentions in many directions and many dimensions.

But more strongly, you are incorporating this symbol as a reminder to yourself in your movement in paying attention to yourself, and that this holds the ultimate significance in your movement and that this offers you the greatest expression of strength within your energy as you continue to hold your attention within you.

JIM: That’s pretty cool. I enjoyed that, thank you.

ELIAS: (Chuckling) You are welcome.

JIM: A couple of other things ... I usually don’t go to focuses, past focuses and so forth, but I’d like to take a moment if we could. Archer asked you about two artist focuses I have. He had the impression of a gentleman named Ralph Wenkin from Germany or France. Is that pretty close?

ELIAS: What is YOUR impression?

JIM: Oh ... okay... (Elias laughs with Jim) This is good! This is good! I feel that there’s one in each area. Ralph seems to be a name in German, but I have a hard time relating to the last name Wenkin. The German artist focus is earlier within time, and perhaps the French artist focus being in the late 1800s.

ELIAS: I may express to you a clue. You may investigate and allow yourself an openness to your impressions and your objective connections with the French artiste being within the time framework of the early 1800s, not late; and the German expression, you are correct, being an earlier time framework, that which you may identify within the early 1700s.

JIM: Okay, that will be fun. That gives me some clues.

ELIAS: I may also express to you, my friend, that the French artist at times, but not consistently, expressed experimentation with new movements in creativity and not entirely holding to the rigidity of traditional expression.

JIM: Oh! Gee, kind of like I do now! (Laughing, and Elias laughs) Okay, that will be fun.

Let’s see, also Lawrence had this whole World War II thing. I don’t know this individual, but she had an impression of an individual within that time framework along with these other people. This is an area I want to explore but I don’t ... I have a connection there with World War II. I remember when this was all coming up, I was at the swapmeet and there was a dealer there who had a bunch of World War II things, and I found myself walking through them, not really knowing why, but kind of finding an attraction but also finding a lot of other emotions. I thought, "Well, there’s something going on here," and then this other information was offered to me by Lawrence.

ELIAS: Now; I may express to you, in this particular investigation, allowing yourself an openness within yourself, you may easily offer yourself an identification of the focus that you hold in that time framework.

I shall also express to you, as I have recently expressed to Lawrence and to Jale, the reason that you may easily allow yourself an objective recognition and connection, so to speak, with a focus that you engage in that time framework is that these two particular manifestations of that time framework and this present time framework overlap, and the veil of separation is quite thin.

In actuality, the veil is expressed so thinly that many individuals experience a recognition of those focuses held in that particular time framework of your midpoint of your previous century, that which you identify in association with this world war, with experiences throughout their present focus, which creates a type of recognition of those focuses in that time framework which are almost expressed in the same manner as you recognize objective memories of experiences in this focus. Are you understanding?

JIM: Yes.

ELIAS: This particular time framework that you are identifying is overlapping in many similarities. In this, as I have expressed previously, these two particular focuses share similar expressions of movement as they are both ending chapters of two books, so to speak, created within the same century and both concerning Source Events. Therefore, the expressions are closely associated, which creates more of an ease in your allowance to be connecting with those focuses in that time framework. I may also express to you, in that time framework individuals that are focused in that particular experience also allow themselves a close association with your focuses.

JIM: It’s a tangled web we weave! (Laughing, and Elias laughs) There’s a lot of objective memory still held within that time period, so...

ELIAS: Correct.

JIM: ...the energy is still very alive. I can see parallels in this and within that movement within consciousness. Hopefully it will be less violent this time.

ELIAS: (Laughs) I may express to you, my friend, that the movement of intent in this focus is expressed differently, for it is involving a different Source Event.

JIM: Very good. (Elias chuckles) And one last one - and this leads me into the rest of the session - the Incan shaman focus that we talked about when we first met, is his name Topala?

ELIAS: Correct.

JIM: I’ve been having some fun there. Recently I came across some information in a book by a gentleman who had explored the Incan shamans for quite some time, and talked about perceptual shift, the shaman way of seeing and so forth. All these things began to come up in me, and I felt a familiarity, of course, of which I’ve really acknowledged.

And this moves into healing and so forth, and the energy which I tend to dabble in time and again, (Jim and Elias laugh) and my present imagery before me right now of my llama, who began to not want to stand up a few days ago, and became ataxic and had a loss of balance, equilibrium, disorientation. But then there are great moments of clarity. (Elias chuckles) That same day Lawrence called me and discussed the last session I had had with you, and we were talking about the convoluted little sapling. Then I had to look at this creature, and go, "Okay, you ARE the creature," and really try to get an in-depth understanding of myself and what I’m presenting.

I went to some other friends of mine in traditional veterinary medicine, and gave the llama steroids and antibiotics and all these things; and I get from her that this is not a course to go, and I get that from myself. But there again, being soft orientation, I’ve seen both sides of the coin, and still, I guess, enter these areas of doubt in the things that I do. I see as well that this llama is to bring my attention into the now at this time. I was just reading the last session you had with Cynthia, which I related to very much within your explanation there and what was occurring.

I’d like to get your side of it and some additional insight into where I’m going with this creature, and where I’m going with myself. Part of this that’s confusing me a little bit too is that we are the creatures, but then we’ve spoken in the past that they also have a choice within their creature consciousness. My choice is also directly related with their choice, and me being them, my creation. So, there’s just this snowball, and I’d like to try to get some clarity a little bit in it all, because it’s just that ... I’m sure you’re following me in some sort of chaotic way! (Elias laughs) Help me see a little bit.

What I’m picking up from this one author is connecting energy within the body, and connecting energy centers and seeing within self and really trying to make these connections, connections in essence and my creations as to what I’m doing with this llama and with my dog and the pony, still, in a way. If we could talk... (Elias laughs) YOU can talk! (Laughing)

ELIAS: Ha ha ha! Very well, my friend, we may be engaging an interesting, but in actuality quite simple, discussion in relation to what you are presenting to yourself.

Now; once again I may express to you that in my discussion with you, I shall also be offering information in explanation to Michael. For as you are aware, and have been aware for an extended time framework, you and Michael do create many similarities, although you choose to be expressing these similarities objectively in different manners; but I hold an awareness that Michael does offer himself much information and more of an expression of clarity in his objective attention within YOUR creations and your interactions within this forum. Therefore, this information shall be applicable to you both.

JIM: Good! (Elias laughs) The more the merrier!

ELIAS: Regardless that Michael is not inquiring of this information, it shall be offered as a gift! HA HA HA HA!

JIM: Okay, I shall tell him. (Laughing)

ELIAS: (Laughs) Now; in this, the imagery that you present to yourself, as we have discussed many times previously, is objectively expressed more obviously in relation to what you are focusing upon in your own movement. You consistently create objective imagery that is quite to the point of what you are creating in your own movement within yourself, and requires little interpretation as far as its expression is concerned.

Now; in this, you present yourself with an interaction with your creature, and you recognize the creature’s behavior which is expressing a challenge in balance. But also, at times, as you have identified, creates an expression of great clarity.

In this, you present to yourself objective imagery as a reflection to yourself of what you inwardly are creating: a desire to be moving into an expression of balance, but also a recognition in clarity of the expressions and time frameworks in which you are allowing yourself to project your attention outwardly, time frameworks in which you are not holding your attention upon self in the now. You may be holding your attention within the now, but you are not holding your attention upon self; and in other expressions, you may be holding your attention upon self but not within the now.

In this, you create distraction and an expression of what you may term to be off balance, in which you may be quite literally expressing inwardly within yourself the same type of lack of balance or self-equilibrium as the creature is expressing outwardly.

JIM: Yes, I’ve looked at that.

ELIAS: Now; incorporated in that movement is also an automatic underlying expression of doubt of your ability and of your movement. In this, you express this in your movement in relation to your ability to be paying attention to your own movement and holding your attention within self in the now, without projecting your attention in the now outwardly to other individuals or to your creatures as separated from yourself; and you also create a movement of holding your attention upon yourself, but projecting that attention of self outside of the now, which creates another doubt expressed within you as to your ability to be allowing a free flow of your own energy in the expression of your natural creativity. And I express to you that creativity, as I have expressed previously, is manifest in many, many different manners.

Now; you create this type of movement with your objective imagery being centered upon the familiar expression of interaction with your creatures. As I have expressed to you previously, this is a quality that is quite consistent with your essence family. Michael creates a very similar movement in relation to the familiarity of HIS objective expression and imagery in relation to his creativity with his art.

In this, you create objective imagery in relation to this creature of the lack of balance, which is the expression that I have offered to you in identification of concerning your attention, self, and the now. You create a stop point, so to speak, within yourself, in which you are expressing underlyingly your doubt of your ability to be effectively and efficiently moving into the balance point.

In this, you create objectively, as I have stated, the stop point which creates an objective lack of movement. For you stop, and do not allow yourself a further movement as you are paying attention to the objective imagery and reinforcing your doubt.

JIM: Paying attention to the ... okay. Yes, it’s very objective. (Laughs)

ELIAS: I may express to you, Michael creates a very similar expression. I may offer to you that I may express in this time framework presently, you engage discussion with each other but you have not offered to each other the identification of your stop points.

In this, you may express to Michael that you are creating imagery involving your creature, but you are not expressing the identification of the stop point, although you do hold awareness of it. In similar expression, Michael expresses to you objective imagery in relation to his artistic expression, but is not expressing to you the stop point which he is objectively aware of.

What you have expressed is your acknowledgment of yourselves of your accomplishment in your movement, but you are attempting to be ignoring these stop points which are significant, for they are the access, so to speak, of your identification of the balance point.

Now; in this, as you recognize the imagery that you have created in relation to the creature and its offering of expression identifying the balance point, you turn your attention to self and begin allowing yourself the recognition of your own doubt and what you are expressing to yourself in relation to what you do not allow yourself in choice.

Michael also is creating a stop-point moment, in which he acknowledges himself his movement and accomplishment in relation to his creativity, but experiences a stop point in his new venture of creation in doubt of his ability to translate, and you are creating a very similar action: the translation of your movement in relation to your objective expressions and imagery, and what that is expressing to you as the access for your balance.

JIM: Wow, there’s a lot there! (Both chuckle) In determining what the stopping point is, is it mainly in an area of trust of what I am capable of creating?

ELIAS: Yes. But let me express to you, my friend, this is not merely an expression of what you are capable of creating, for you have already offered yourself a recognition and an awareness of what you are capable of creating, in like manner to Michael. You already hold an awareness of your abilities. What you are creating in this particular movement and this stop point is a movement into the familiarity and a doubt concerning your ability to continue in what you have discovered in relation to your ability.

In this, let me offer to you a small analogy, that you may view yourselves to be spheres spinning upon these axes, and as the spheres are spinning, the axis which is the core of these spheres is shifting directions, back and forth and to the side and in circular movements, but it holds the ability to stabilize and create balance, for it already has been expressed. You already have offered yourselves an awareness and a recognition of your ability to create this stabilization and balance.

Your doubt is expressed in your questioning of your ability to maintain that expression of balance, and therefore you create a stop point in response to that questioning of your ability to continue and to hold within that balance; and each of you has recently offered yourselves experiences in which you have wavered, and you have recognized that your attention has been expressed either within the now but outside of yourself, or within self and not within the now. Are you understanding?

JIM: Yes, I am relating to experiences here, and I understand.

ELIAS: This is your offering to yourselves, objectively, a communication that you are expressing to yourselves that allows you to recognize your expressions of doubt concerning your own balance and your ability to maintain that expression. Not that you do not hold the ability to create it, not that you doubt that you hold an awareness of it or how it may be accomplished, your doubt is expressed in your ability to maintain it.

JIM: Okay. I’ll take a look at a lot of that and maybe change my adventures into convolutedness into adventures of a balanced little sapling.

ELIAS: (Laughs) And I shall be greatly acknowledging of your movement in this direction, my friend! Ha ha!

JIM: Well, great, a little team effort! (Laughs)

ELIAS: Ha ha! Quite!

JIM: Moving along, I thought of the energy centers before as being almost like spinning wheels. Now I see them more as exploding somewhat like the sun, and everything merging, everything melding. Even in my expression with the llama and doing the color exercise, I felt more of a melding of energy and color and bursts, and everything wasn’t quite so synchronized. But is that accurate ... I’m asking you for accuracy, but within my expression I should give that to myself.

ELIAS: I am understanding.

JIM: I feel that that was a real kind of opening for me.

ELIAS: Yes. For you are allowing yourself to view aspects of your reality and your energy in less of an expression of absolutes and definite terms, which creates more of an expansiveness of your objective understanding of your energy and of your reality.

This is significant, my friend, also in relation to yourself and what we have been discussing in your allowance of yourself in balance. For as you allow yourself to be paying attention to self in less of a rigidness of terms in relation to the imagery that you present yourself with, you may allow yourself more of an ease in your expressions and in your movements.

As you concentrate your attention upon the objective outward imagery, you also limit your allowance of yourself to be moving in a free flow and an expression of balance. You concentrate your attention outwardly upon the expressions of the creatures, or even at times upon the expressions of color energy which, at times, you view to be an expression which is outside of yourself.

Michael projects his attention upon the outward objective imagery of the creation of his painting, and in these expressions of doubt and the lack of balance, there is hesitation in his allowance for himself to be creating a free flow, concerning himself more with the outside objective expression rather than the inward flow of energy which shall move naturally and create the expression of your desires. Are you understanding?

JIM: Yes. So within my creature, within the llama - which we’ve named Dolly (laughing and Elias chuckles) - in finding my own inner balance, I should not be so concerned about healing or doing something to her, but more importantly focus on looking to my own energy, to my own balance, and looking at this area of doubt and creating an assurance, creating a balance, and she will in turn gain balance?

ELIAS: Yes. I may not express to you strongly or genuinely enough, my friend, the powerfulness of your attention in relation to self and how this is affecting of perception and how that genuinely alters your reality.

The creature is an expression within your reality. If you are holding your attention upon self and allowing a balance and a free flow of energy, concentrating your attention upon self, you cease to be creating judgments outwardly. This creates an automatic tremendous flow of allowance in energy. It creates a lack of expectation, and in that lack of expectation, there is a tremendous opening, a tremendous expression of freedom, that energy flow, in whatever choice is being engaged.

I have expressed many, many, many times to you all the tremendous significance of holding your attention upon self, and how this genuinely does alter your reality. It does not merely alter your individual reality.

Let me express to you, my friend, you yourself and every other individual that has engaged conversation with myself has at times created thought processes that incorporate questioning and wondering as to how you shall in actuality create the expression objectively of altering all of your reality and creating the genuine expression of this shift in consciousness. This, in its simplicity, is the movement of it, and the manner in which it shall be accomplished is in the recognition of the significance and the POWER of holding your attention upon self.

This one action, this simple movement, creates an opening of floodgates of energy which incorporates such a significance of power that it in actuality, in genuineness, does alter your reality in actual physical terms: physical matter alters, physical expressions alter. Not merely your individual singular perception, but as you alter your perception you also open a channel of energy which is affecting of consciousness.

I hold an awareness that you do not individually recognize the vastness of consciousness or your individual expressions of affectingness of consciousness, but I may express to you in truth - and as you are aware I do not incorporate this particular term often - but in this discussion and this subject matter I may express to you in TRUTH the alteration of your perception creates a movement which is affecting of all of consciousness.

Therefore, what you may term to be these small expressions of objective imagery, of alteration of one creature and their physical manifestation, or an alteration of a translation of transference of a picture from one medium to another, you may allow yourself to view as great in its significance in the alteration of perception; but in relation to objective imagery, it may be viewed as similar to one grain of sand upon your planet.

(Firmly) The objective imagery is the abstract. It is not what holds significance, for it is continuously changeable. It matters not. Within one moment, you may be incorporating objective imagery in the expression of your llama. Within another moment, you may be incorporating objective imagery in relation to an expression of your dog or a pony or a bird or another individual - it matters not. What holds significance is the expression of your perception, which holds consistency in ALL of these objective expressions of imagery.

JIM: And there’s inner perception, too, of how you see yourself.

ELIAS: It is not an expression, my friend, of inner and outer perception. It is all one. It is all inter-related, for there is an interplay of all of your associations, your beliefs, your knowings in the creation of your perception. There are merely different expressions of perception and different directions of the creation of your perception. But it is all one movement; it is all one mechanism.

JIM: All in harmony and balance.

ELIAS: Correct.

JIM: Okay. Well, once again we’ve just covered a few light topics! (Laughing, and Elias cracks up) Shouldn’t take but the rest of the day to assimilate all this... (Elias continues laughing)

Thank you very much for your time and your patience and your insight, as always, Elias. (Elias chuckles) I greatly appreciate your interaction and your input and friendship in my life.

ELIAS: You are very welcome, my friend. I may express to you my pleasure in our discussions, as you allow for an open window of exploration of self.

JIM: Yup, that’s who I am, that’s what I do! (Elias laughs) And don’t we all, travelers within consciousness?

ELIAS: I may express to you, my friend, a tremendous acknowledgment of you and your choice within your intent, your willingness to be presenting yourself objectively as an example to other individuals. You present yourself as a glass, which is in actuality quite helpful to other individuals in their exploration also. Therefore, receive from myself this day an acknowledgment and a validation of your perfectness of your expression, of your intent, within this focus.

JIM: Thank you.

ELIAS: You are very welcome, my friend. I anticipate our next meeting, and I shall be interactive with you in the interim time framework, offering to you encouragement.

JIM: Thank you. I guess that’s why I like guinea pigs, huh?

ELIAS: (Laughing) Quite apropos! Ha ha ha ha! To you, this day, my friend, in dear affection, au revoir.

JIM: Good day, au revoir.

Elias departs at 12:36 PM.

©2002 Mary Ennis, All Rights Reserved

Copyright 2001 Mary Ennis, All Rights Reserved.