ELIAS: “This evening, I will ask you to engage with me in an exercise.
... Continuing, I will be asking you if you are possessing of sheets of paper, preferably with no color or lines upon these sheets of paper.
RON: We have lots.
ELIAS: I will ask you to be issuing one sheet to each individual within our group, and also a writing instrument.
VICKI: Is this big enough? (Holding up a piece of paper)
ELIAS: Acceptable. (Pause, while we get our paper and pencils) Now, I will ask you each to draw a shape upon your sheet of paper; one shape. (Pause) Completed? Now, look at your paper and express to me, where does your focus go to? (Pause)
CELIA: It goes to the shape.
ELIAS: Exactly. You incorporate the shape immediately. Now, I will ask you also, where have each of you placed the shape upon your sheet of paper?
VICKI: Mine’s at the top left-hand corner.
ELIAS: No doubt! (Grinning) Continue.
GUIN: I don’t know. Not in the middle, not on the top, not on the bottom. It’s right there! (Showing Elias her paper)
CELIA: Mine is closer to the top, and in the center.
RON: Mine’s dead center.
ELIZ: Mine’s at the top and the center.
ELIAS: Now, I will ask you also; when you are viewing this paper, you focus upon the shape, and do you notice how you incorporate the rest of the paper? (Pause) You do not, for the shape becomes your focal point. It is your point of focus. It is only one spot on your field, but it has your attention, for it has become your focus. You vaguely incorporate the field around it, knowing that it exists, but paying no attention to the surrounding field, for the focus point has been established. In this, this is you. The field is your essence, the focus point is your shape; and just as you visually focus upon one point on your paper, acknowledging the existence of the surrounding area but only focusing on one point, you likewise do this with physical manifestation. You focus your attention upon one point.
Now, think to a painting, which incorporates colors and activity; a scene. In viewing a painting, you will automatically visually incorporate points, at any given moment. Your field of vision allows you the perception of the entire painting simultaneously, but your focus narrows to points. It may be a color, it may be a form; and you may move your vision to different points while viewing one painting, but you will incorporate points, at any given moment.
When you conceptualize this same painting, your vision becomes secondary. You are aware that you are viewing, visually, an object; but your vision recedes, and your conceptualization becomes primary. In this, you transcend your physical senses and incorporate the entirety; not of the painting, but of the concept of the painting. When you conceptualize music, you are listening, and then you allow your physical sense of hearing to recede, allowing you to experience the totality of the tones. Part of your consciousness continues to incorporate a melody, but a greater part incorporates conceptualization, which allows you a greater connection with the element itself.
This evening, we will discuss ‘facets’ of essence. This is the reason why I have begun with this small illustration, that you may view one facet of your essence as being the same as the focus point upon your field of paper. You are a facet of your essence. Each of your developmental focuses are also facets of your essence. All of your awarenesses in wider focuses are facets of your essence; this being unlike counterparts or aspects, which may also incorporate other essences.” [session 60, December 10, 1995]
ELIAS: “I have expressed to you that you incorporate aspects of personality which I differentiate from all other aspects [called facets]; these being not necessarily counterparts, but being part, so to speak, of essence awarenesses being connected through personalities, and also connected within essence. You may not necessarily meet or physically know other individuals who are these personality aspects, but you will know them. You will identify with them as though they were a part of your soul, as you would say for they are.
... You incorporate such confusion! A personality aspect [facet] will be also fragmented the same as yourself. (Pause) And we are continuing to not be understanding, (laughter) but you will understand more, as you think of this. The connections are great already, with what has been offered. Think to yourselves, when you are incorporating these types of questions, of our ‘shape.’
... Let me offer you a suggestion. You may incorporate two of your sheets of paper. Upon one, remove [cut out] a circle from its surface, allowing a hole. Upon the other, you may create many small circles in a large circle, going around. Placing the sheet of paper with the hole on top of the other, you may turn this paper and view all of your facets, one by one, as you do now. (Pause, during which it is obvious that Guin does not understand) Allow Sophia [Guin] a paper!
CATHY: It’s okay. I didn’t get it either!
GUIN: I got it all the way to the very end.
ELIAS: Create circles in a circle.
GUIN: Just going around the inner edge of the circle?
ELIAS: Create circles. (Pause, during which it is obvious that Guin does not understand) Create squares in a circle! (Here, there is a pause during which Elias is grinning widely, obviously getting a kick out of our discussion regarding how to draw this circle, while Guin is frantically drawing circles on her piece of paper)
GUIN: ... Okay. I got it. Put it on top?
ELIAS: Correct. (Another pause, loaded with non-comprehension)
GUIN: Turn it upside down? (Here, Elias gives us all one of his ‘s‘sOh brother’s’s looks, and we all crack up)
ELIAS: We shall incorporate a new element, for Shynla’s [Cathy’s] benefit! Allow Elias an instrument for writing! (Vicki hands him a pen) Thank you. (To Cathy) Pretty tricky! (To Vicki) I am requiring of a paper. (Vicki holds a tablet of paper for Elias, on which he draws a circle of squares. When he is finished, he places the point of the pen in the middle of the circle)
Your pinpoint for connecting papers. Your hole for your top paper shall be placed that it may rotate on top of each square, stopping at each square to incorporate Sophia [Guin] focus, Joquin focus, Thomas focus, Bertrand focus (1); continuing around that you may view each focus individually, and you may understand that within this center area is essence, waving out to all individual facets. (Still demonstrating by drawing on the paper)
GUIN: Okay. Now, then you could put another bigger circle with Ayla (2), and put that circle next to that circle, being connected with that circle, right?
ELIAS: Or, you may put a smaller circle within, for you do not look without. All is created from within. (Smiling at Guin)
GUIN: So if I took a really big piece of paper and put a really big circle, and had that circle and then that circle and then that circle and that circle and that circle, can I do the connections?
ELIAS: You will be the outermost circle! (Pause)
GUIN: Oh, no! I thought it went the other way around!
ELIAS: (Smiling) For you are viewing within physical terms. You view yourself, and you look outward through your eyes and you view bigger, and you see your planet as bigger, and you see your universe as bigger, and they are all incorporated within you. You are bigger! (Pause, with many sighs) Therefore, the farther you travel, so to speak, within, the wider your awareness. (To Guin) This is quite an attractive pose! (Laughter) You do not incorporate a sheet of paper big enough to be you! (Elias starts laughing)
GUIN: (Obviously frustrated) Well, I was trying to do it to understand the wider awarenesses of us here, such as Otha and Ordin and yourself and Rose (3), and trying to get ...
ELIAS: For somehow, it will be easier to be understanding Otha and Ordin and Rose and Elias and so forth, than yourself! (Laughter)
GUIN: Okay, I’m done!
ELIAS: I will express to you that you at least understand your own language!
GUIN: Oh, brother!
ELIAS: (Laughing) There is no language incorporated with Otha and Ordin, therefore it may be easier to be focusing on the largest circle first!” [session 61, December 13, 1995]
VICKI: “When we did our exercise recently, in placing the shape on the piece of paper, you went around and asked everybody where on the paper they had placed their shape and everybody replied, but then we didn’t address that any further. I was curious why you asked that question.
ELIAS: And are you remembering where these shapes were placed upon these sheets of paper? (Immediately turning to Ron and holding his hand out, palm up, as if gesturing for Ron to answer)
VICKI: ... I remember most of them ... (Elias cuts her off)
ELIAS: Sari’s [Cecelia’s] being nearer the top; Sophia’s [Guin’s] being nearer the side, not quite center; Elizabeth [Elizabeth], to the side; Lawrence [Vicki], to the side. This was also what you would term an unconscious identification; for where you were placing of your shape, in relation to the entirety of the paper, was indicative of your focus moving through its developmental cycle. Those which indicated near an end of the paper, which would be closer to a side, were those essences which are incorporating the intention of non-refocusing within physical manifestation; the one in the center being with the intention of remanifestation within physical focus. There are no accidents; and you know more that you think you know! (Grinning widely)
VICKI: Mine was way up there in the corner!
(Vic’s note: interestingly enough, I had Mary do this exercise. She placed her shape exactly where I did!)
ELIAS: I am quite sure that if Michael [Mary] and Lawrence [Vicki] were capable of incorporating shapes off of the paper, they would have been expressing this! (Laughter) Therefore, you may see that within your most simple exercises that we incorporate, you possess information. You demonstrate, to yourselves, information. You only do not notice!
VICKI: Thank you.
ELIAS: You are welcome.” [session 66, January 14, 1996]
JAN: “Am I the final focus of my ... family, group, whatever?
JAN: I am. Okay. I wasn’t sure, ’cause you did this little demonstration where you had people draw things on a piece of paper, and I know that I would have centered mine exactly, with a line under it to make it balance, and you had them to the left or right if they were. (Elias chuckles) So, I thought I would have failed that one. Otherwise, I thought that I am.
ELIAS: Ah! Now; let us examine this little exercise, and let us be remembering that you hold a belonging to the Sumafi family AND an alignment with the Sumafi family. (4)
Now; [in placing] your form upon your paper, you also include the line to balance. Therefore, you are not merely allowing a subjective expression to be offered within your drawing of your shape. You are moving into the direction of your objective element and allowing a slight element of exactness within your placement of your form upon your paper. Therefore, you have allowed the interjection of your objective awareness to be influencing your placement upon your paper, but within you, you hold the knowing that you are the designation of a final focus.
In this, let me express to you that this is a very efficient example to you of how you precisely create behaviors within your focus to be very exacting. Now; this is not bad, but you may move yourself into areas of confusion and conflict with these behaviors as you move them into extremes.
JAN: Yes. (Elias chuckles) It’s the way I do it.
ELIAS: Ah! But you are not hopeless yet! Ha ha!” [session 438, August 04, 1999]
(1) Paul’s note: Elias mentions Guin’s essence name Sophia here, and then goes on to mention three additional names; Joquin, Thomas, Bertrand, none of which have been offered, as of May 2000, as essence names. My impression is that these are focus names of Guin’s, offered as clues for Guin’s benefit in the context of exploring these subtle concepts.
(2) Paul’s note: Ayla is the essence from which Guin’s essence, named Sophia, is fragmented. Ayla is also one of the twelve essences, including Elias, who assists with the energy exchange with Mary.
Digests: find out more about fragmentation.
(3) Paul’s note: Otha, Ordin, and Rose are three of the twelve essences, including Elias, who assist with the energy exchange with Mary.
(4) Paul’s note: according to Elias, Jan belongs to and aligns with the Sumafi essence family. If you think of essence as a multidimensional iceberg and individual focuses as tips of the iceberg, then the quality of belonging to applies to the submerged aspects of the iceberg and the quality of aligning with applies to the tip of the iceberg.
Digests – see also: | alternate selves | aspects of essence | becoming | cycle of manifestation | counterparts; individual | essence; an overview | essence families; an overview (Sumafi) | facets of essence | focal points | focus of essence; an overview | focus of essence; beginning-continuing-final | information | manifestation | noticing self |
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