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Friday, April 26, 2002

<  Session 1064 (Private/Phone)  >

“Clarifications and Validations”

Participants: Mary (Michael) and Anjuli (Miranda).

Elias arrives at 9:41 AM. (Arrival time is 23 seconds.)

ELIAS: Good afternoon!

ANJULI: Good afternoon, Elias! (Elias laughs)

Elias, I had a chat with Michael right now on the phone, and then when we had talked for about half an hour we suddenly got interrupted. She did not do anything with the phone and I didn’t do anything, and then we thought, well, probably Elias got impatient! (Laughs with Elias) How did we do this interruption?

ELIAS: Or perhaps each of you was generating impatience! Ha ha!

ANJULI: On what we talked about, I talked about my mother and she about her issue with her relationship. I think it got our attention when we were interrupted. (Laughs)

ELIAS: Ha ha! Quite efficient!

ANJULI: Yes, quite efficient! I think probably I first start with some little questions for adjusting my energy a little bit?

ELIAS: Very well.

ANJULI: But I have created some very interesting things, Elias, for you, for me.

ELIAS: Very well.

ANJULI: My present Argentine focus, Jose Pedro Alvarez, is his full name Jose Pedro Alvarez Carreira?


ANJULI: Because George has said they have two names. George was very interested in Jose, and then we came up with that name. Jose lives in La Plata near Buenos Aires? (Pause)


ANJULI: And is there some connection between Jose and George, maybe a counterpart action or something? They feel something. George feels something and I always felt something, with his Spanish translation of the Elias sessions, and whenever I write about Jose on the E-List George answers, so there is a something. (1)

ELIAS: Yes, you are correct, counterpart action.

ANJULI: Oh, George will be so happy. He said feel free to ask Elias anything! (Elias laughs)

Oh yes, and Jose, he is right now creating... They have this financial breakdown there in Argentina. In the past week we discussed on the Elias-list about how some of us feel about money, and that was interesting because at some point I had felt some confusion – or I did not know what it was – around the issue about money. I thought I do it like with other things, I open myself up to you and just fill myself with you, and then I will suddenly find some answer. Then somebody on the Elias-list quoted something from an earlier session about that some of us may become impatient with money because of another system we will probably have in the future. So I have the feeling that my Argentine focus is creating similar imageries. Others of us too have the feeling, with the World Trade Center and other towers falling and churches are falling and then now this is happening, that probably we are in a shift about this whole money stuff.


ANJULI: I have the feeling that Jose is probably a little bit challenged, but I think there is also a sort of relief, could that be?

ELIAS: Yes, you are correct.

ANJULI: Oh! That’s great! Okay, then my other American present focus, Joe Newton, who lives in Arkansas, does he live in Little Rock or near there?

ELIAS: In near location.

ANJULI: Then, Elias, I wanted to talk with you about some other impressions of other focuses or connections, and I discovered some beliefs around that. When we talked about the essences I fragmented from, and this whole issue when I said that I am kind of relieved that I do not have any famous focuses with you or with anyone or that I don’t belong to famous essences or what, because this gives me more freedom. Together with that there was... (Sighs) So there are several kinds of duplicity beliefs and they are sort of opposite. I discovered the one, and because I have accepted the one I discovered another one.

ELIAS: And what is your identification?

ANJULI: Because I still made a difference between famous or not famous. So I thought I was afraid of discovering known focuses or focuses which probably create in a similar way as my intent – like unusualness – and at first I was afraid because I had thought I would connect this with being better than others and I didn’t want to feel like that. Oh, that’s too confusing! (Elias laughs)

Anyway, I feel still a little bit uneasy about that! It’s about thinking that certain expressions are just different. So they are not more just because of their intent or their famousness, you know what I mean?

ELIAS: Yes, you are correct, and you are allowing yourself to investigate the influence of these beliefs.

ANJULI: Yes, and I discovered when thinking that I will talk with you about those impressions that my impressions are probably still not really clear because of these beliefs around there.

ELIAS: I am understanding.

ANJULI: The first what came into my mind when I felt this “I am glad that I don’t belong to the famous essences because this gives me more freedom” was the feeling if I had a focus with famous parents or a famous or publicly known focus which felt like due to that belonging to many rules and not free or what.

ELIAS: I am understanding.

ANJULI: I connected that somehow for example with the Empress Sissi of Austria, who was from Bavaria, and how she felt or how she expressed. I was wondering about my connection with her, and that’s why I start to feel uneasy, because I don’t know what to do with that impression, if that’s a focus of me or if have some dispersedment with her of if I am watching her... How is that called when an essence is watching that?

ELIAS: Observing. No, your impression is correct. This is another focus.

ANJULI: Oh my goodness, Elias! (Sighs) I knew when I ask you that this would change a lot in me! (Elias laughs) That gives so many explanations about other feelings. Then I get a lot of information for my focus and my intent by feeling into her?


ANJULI: Then there was another impression around the composer Handel and his music piece that is called “Zadok the Priest,” which they sometimes play in ceremonies for the kings of Great Britain. There was suddenly the impression of a familiarity both with this priest from the past, Zadok, with Handel himself when he composed that music, with somebody in another time framework who was participating in singing this piece, and also with the castle of Windsor and something around that. I started to think of how we create stories with our focuses, because that felt like a story, like creating around this music piece several focuses who are experiencing it from their time. (Sighs) I again can’t explain! So, is Handel a focus of me?

ELIAS: Observing essence.

ANJULI: And then this Zadok, the priest in Israel around the time of Jesus?


ANJULI: That’s a focus?


ANJULI: I think the other impressions, there is a strong familiarity with the castle of Windsor. When I saw it I was almost smashed; it was so familiar to me. The feeling is that I have a focus which worked there, but probably also another which is sort of living there or is connected with that family. I didn’t know if that’s in the past or probably even in the future. These impressions are not yet clear.

ELIAS: I am understanding. The individual that is in service, yes, is another focus and is past. The individual that is a family member is future.

ANJULI: Oh, I thought that! Interesting! It is very helpful to talk with you about that because I learn about my impressions and how they are colored or not and about my uncertainty around that. Very interesting.

Then there are impressions about writers. I have a strong draw to the writer Pearl S. Buck, who was writing about Asian-American relationships. Is that another focus, or again probably observing essence?

ELIAS: No, in actuality what you are offering to yourself in your communication of impression is an identification of a particular preference, interest and expression of energy, which is quite similar to another future focus as a historian.

ANJULI: The next writer I am drawn to, and of course many of us, is Tolkien, who wrote “The Lord of the Rings.” Well, it’s similar again that I don’t know in which way I am connected with that individual. The way he writes feels very familiar to partially how I am writing my fantasy book, and so one impression is that he is writing a little bit about the other dimension of the Inner Earth and that I have focuses there. The other one is again about this person, but I don’t know exactly how I am connected with that.

ELIAS: I am understanding, and what you are offering to yourself in this impression is the familiarity of another dimension, another physical dimension in which you incorporate focuses, which is quite similar to the stories that are generated by this individual.

ANJULI: Another impression is around the first Shankara in India. He had four disciples. Three were more ... they were probably Sumafi and thought focused, and one was different. His name is Trotaka. I was wondering if Shankara is you and Trotaka is me, or whatever I am presenting to myself in this.

ELIAS: The latter is correct in relation to yourself...

ANJULI: Trotaka is me?

ELIAS: ...yes, and the other expresses a similar energy expression but is not of this essence.

ANJULI: The writer Johann Wolfgang von Goethe, he feels also a lot like you. Is this a focus of you?

ELIAS: Not in directing essence.

ANJULI: Observing?


ANJULI: Then you have a focus in Scotland as sorcerer...


ANJULI: ...I have a focus there, too, with you?


ANJULI: Okay, now I would like to start to talk with you about this white-light thing.

ELIAS: Very well.

ANJULI: Oh, Elias, since I know that I associate myself a lot with white light, I discovered all sorts of imageries I had created around white light or white color.

ELIAS: Ah, and what have you offered to yourself?

ANJULI: I am just so surprised, because I had not connected the white with myself, and so when I think of those imageries they get a new meaning. For example, there was a white light or fog in the dream on the day of Vicki’s disengagement, with you as the blue light and with the energy deposit of Vicki/Lawrence and the other-dimensional focus of Lawrence. This was all with a white light.


ANJULI: So there is sort of a new feeling around this whole dream when I discover me-ness within white light.

ELIAS: Correct.

ANJULI: And then in my writing there is a chapter when Runi and Inmi have done this transcending of their bodies and the merging. When they have done it for the first time she forgot, and before she forgot it she asked him if he would help her to remember again. Then when she had forgotten, she started to remember. She said, “If you would wear a white dress then I think I would remember something.” Then he did that and she started to remember, not the translation or the details of what they have done, but she started to remember in a more abstract way.

I don’t know how to express, but there were lots of emotions in me when you told me about the blue, the orange and the white, and that the white is me and the blue is you, and then I suddenly remembered that Runi connected something with white light. She used white light for to trigger remembrance.


ANJULI: Then I am using white light for to trigger remembrance?

ELIAS: Yes, in a manner of speaking, for this offers you a recognition of yourself, which allows you objectively to offer yourself more information and therefore widen your awareness more, which also generates a new understanding objectively of what you are presenting to yourself.

ANJULI: There is another imagery, which is about blue and orange and white. Since a few months or what, in my favorite TV channel they have a new ... I miss a word, but anyway it’s around a blue globe with white, and the white is translucent, the globe is very translucent, and around that there is an orange light with shades of rose. So when it’s coming up before the news starts it has the imagery of several globes, and it’s so beautiful! When they started to use that I loved it so much, so much! Well, when I discovered that this is also about blue and white and orange ... I don’t know, I was quite... I create so much around this blue, orange and white. It’s amusing and it’s exciting!

ELIAS: Ha ha ha ha! And you continue to present yourself with this type of imagery that you may be paying attention to you. (Chuckles)

ANJULI: Yes. (Elias laughs) Oh, but Elias, I must connect that to do a lot with the shift and the entire dimension. The first imagery was after all in the sky, and this one is on TV and around the globe!

ELIAS: Correct, for this is imagery that you present to yourself in relation to interconnectedness.

ANJULI: And the many Earths that come up before we start with the news on this TV channel, is this a sort of imagery about that the collective starts to feel the probable realities?


ANJULI: Beautiful! We must be quite changed within the shift already!

ELIAS: Quite! (Laughs)

ANJULI: More than we are aware of, probably.


ANJULI: Then today there was ... I talked with Mary about that. Bobbi sent the transcript of a session in New York held one year ago, when you talked about the relationship with self, because Michael and I, we talked a lot about our experiences about the relationship with self. (2) When I read this session today it was another validation, because I am quite happy with my relationship with self and how I discover my self everywhere.

During reading that, my mother called me and she said, “Watch TV, there is something on TV!” The movie on TV was about a romance between two beings, and the romance was around a music that is called “California Dream.” “California dream, you are my symphony, all the angels sing their melody when you are with me.” And you know, my mother called me not for to tell me about her depressions, but she reminded me of this song which we both like, and this was happening during me reading about the relationship with self. My first impression when I heard this song again was how happy I am with my relationship with self and I was quite proud about that, because I did not think of you at first, I thought of me at first, although you and me are the same. But you know what I mean?

ELIAS: Yes, and also you offer to yourself objective imagery in generating a connection and a different perception in relation to this individual of your mother.

ANJULI: Yes, I thought that our relationship must have changed so much in the last weeks because I accept her more. You know, she knows about my session with you today, and right now I can talk with her more about you than with anyone else. And then sometimes she says, “Why have I created a daughter like that?” Then I discovered that I have so far not thought that I am an imagery of her that she is presenting to herself. So I have a new feeling about her essence, her focus. I am more appreciating her and this is mirrored back. We have changed our relationship a lot, I think.

ELIAS: Yes, which may...

ANJULI: And I thought this “you are my symphony” is about the entire essence with all of the focuses. They are like a symphony, how they are interacting, how they fit together, like what we said about the interchangeableness of your focuses.

ELIAS: Yes, and offering yourself quite a validation and a new appreciation of yourself.

ANJULI: And of course, it’s also about my relationship with you, because that is always the same. I remembered the time when I had started to listen to this song very much. That was when I had left the ashram and I was a bit in a confused state because I felt that something changed and I did not know what was happening. Whenever I listened to this song I always knew it does not matter. Whatever it is that I connect with it, I will experience it with my self and also with this relationship I felt I wanted to have. And when my mother reminded me of this song I saw oops, I have created it!

ELIAS: (Chuckling) But you generate this imagery to express objectively evidence to yourself of what you are creating and how you are altering your perception.

ANJULI: Yes. It also gives me the recognition or the insight how it may sometimes take a while for to prepare for something, like in the past I did not know that everything I did was a preparing, or that I had already started to create it.

ELIAS: Correct.

ANJULI: It’s just a time thing, that you think that’s a long time or linear time.

Oh, and I was reminded due to that of another song. A man in the song talks about the experience that he woke up at night and a special form of light appeared and a voice was talking to him and said, “Give me your love, try to believe in feelings! Give me your love, try to believe in me.” Then later, “time has a special value” and something about eternity and a glossing light, and then again “Give me your love, this is the sign for you to rise.” Then when this being left the man said, “He left me behind with the truth in me.” When I remembered that song again I became quite emotional, because I loved this song so much. It always talked to me. I always knew that I talk to myself and that I give myself the sign for to rise and to believe in this feeling that whatever I want to create I am creating it already. And again, well, there is also you in this song.

ELIAS: In encouragement to you, yes, and in acknowledgment to you, yes. But more significantly, it is yet again another validation to yourself of appreciation of yourself, which is quite significant.

ANJULI: Yes, I understand. That’s important. (Pause)

I have a question about an experience I had before the last session, in the night. Whenever I am meditating before I am going to sleep I have wonderful experiences during the meditation, but in the last days there is always something in the periphery of my vision on the left side, like a shadow or some change. From reading your sessions I understand more of changes in the vision or what, but one night I started to be a little bit afraid, and then I started to sleep and I dreamt that I was visited by somebody. Somebody was sitting in my bed, and I was confused because I was used to when you visit me. I feel your energy and you first give your energy beam or what to me, and during this visit I didn’t feel the energy. I called for you, but I didn’t really call for you, and I discovered that I was kind of chanting your tone, your essence name. Then I lost my fear because I was so amused that I chanted your name, and then this all disappeared. Later I thought about that, and I was wondering if there was a connection with an other-dimensional focus of me and if that focus was probably as confused as I was.

ELIAS: Yes, you are quite correct. (Laughs)

ANJULI: How much was this focus here? With a part or quite a lot?

ELIAS: A considerable expression of allowance of yourself to be dropping this veil of separation temporarily and presenting yourself with two attentions simultaneously in actual physical presence of each other.

ANJULI: Aha! So I could compare it with that experience Leslie and I had, when I dreamt of her and she dreamt of me, and we both were me and her. Only this time it is with an other-dimensional focus, and I did not feel to be the other focus. But I can compare it regarding the lack of separation.


ANJULI: Aha, I understand.

In one of the tapes when we started to talk about the counterpart action, you started to explain something to me and I interrupted you because I suddenly discovered that I can do counterpart actions with focuses in another time or with you. Were you going to say that a counterpart action is similar to when I put dispersed energy into somebody? Because you said “similar to” and then I interrupted you.

ELIAS: Not necessarily similar to a dispersed action, but it may be similar to what you may recognize as allowing yourself an awareness of experiences of other focuses of your essence. You generate a very similar action in counterpart action with other essences, with other individuals, not merely your own essence and other focuses of your essence; but you assimilate the experiences in a very similar manner.

ANJULI: Then counterparts are like my other focuses, only of another essence?

ELIAS: In a manner of speaking, for it is a manner in which you may offer to yourself the assimilation of many, many, many experiences and not necessarily incorporate an actual focus of attention to be generating those experiences. But you assimilate them, regardless.

ANJULI: Could I feel them to be me, similar to how I feel Leslie to be me, for example?

ELIAS: In a manner of speaking, yes.

ANJULI: Probably when we see all of the essences within consciousness, could we say all the essences are like focuses of consciousness?

ELIAS: In a manner of speaking, yes.

ANJULI: Then I just need to remember that I am consciousness, and then I can feel all of that as me?


ANJULI: Then I could, when I shift into being consciousness, look into everything I feel attracted to as a me-ness?

ELIAS: Yes, you may, for there is no separation.

ANJULI: So we can use that also when we want to get information about something, a me-ness information.

ELIAS: Yes, if you are choosing.

ANJULI: And then Timothy! Let’s see the time – enough time. Ah yes, Timothy! So, I asked Timothy what he is doing. This was a little bit more difficult than the other things we shared. My impression was that he was then connecting with my writings, not the one about Runi and Inmi, but with what I did before. And when I wrote that, I sometimes had the feeling I wrote a chapter and in the chapter there was a person and I felt a story around that person, but I could not write down that story, too. I all the time had the feeling of stories in the story. I think in his future they are probably creating movies where you can participate in the movie and during the movie decide to look into the story of this person more detailed or kind of participate, as if it has many side stories or what. I had the feeling that at first Timothy was probably doing some discovery about this technical or physical creation of that and that he is probably then more on the artistic expression of that.

ELIAS: Yes, you are correct, and this creation, in a manner of speaking, has sprung from what you generate in this time framework in your expressions of virtual reality. This is an expansion of that beginning.

ANJULI: I had the feeling that probably, because of his way of how he puts his attention and this energy beam I once was seeing, I had the feeling that they have discovered a connection between the energy of attention or thought energy or what, as if they don’t need to use a physical something for to choose a part of this story or whatever. They have some link of their personal energy and these objects, if that’s a TV or whatever.

ELIAS: In a manner of speaking, yes, you are correct, for there is more of an allowance of manipulating of energy and recognizing the reality of energy, and that it may be manipulated in a manner to generate much different types of manifestations than you allow yourselves presently.

ANJULI: That must be so interesting! (Elias laughs) Oh, that’s great, then I got that quite clear! I am happy about that! And Timothy’s house, he is living in California?

ELIAS: That location, yes.

ANJULI: Ha! “California Dream” – I will send him this song. (Laughs)

And about his essence name, I first thought about something like Elton, but that is too short. Then I thought Antaris, and then today when I saw this movie with the music “California Dream” – because they met on the Grand Canyon – then I thought it is Antonio. So is his essence name like Antaris or Antonio? Are they close to his essence name?

ELIAS: I may express to you that your initial impression was closer, in your terms.

ANJULI: What? The Elton or the Tano?

ELIAS: Eliantan! (ell lee AHN tahn)

ANJULI: Because with Elton I thought I liked the “el” and I thought he has something of Elias, and this “tahn” is in there.


ANJULI: What did you say, Eliantan?


ANJULI: That’s so beautiful! (Elias laughs) He is a combination of Elias and this “tahn” sound.


ANJULI: Did he fragment from you only?


ANJULI: But mainly from you?

ELIAS: There is what may be translated as a generous application of qualities of this essence, that have been incorporated from this essence as preferences, yes.

ANJULI: Then he fragmented from two essences?

ELIAS: Several.

ANJULI: Elias, I thought about counterpart actions between countries. So could dimensions also have counterpart actions?

ELIAS: In a manner of speaking, although the action is expressed differently than its design in this physical dimension. But in a manner of speaking, yes.

ANJULI: So for example, our dimension, or let’s reduce it to the shift in this time framework, could for example connect with your dimension in a similar way as I connect with you, like a counterpart action of your dimension and mine or the collective we are now?

ELIAS: I may express to you, loosely you may generate that association, but you are speaking of a particular type of expression, a particular type of action, of counterpart action, and this action is designed to allow assimilation of experiences in exchange.

Now; in the area of consciousness in which I occupy my attentions, I am aware of the experiences and the exchanges of energy. Therefore, there is no actual necessity for assimilation of this type. Therefore in association with your collective insertion of this shift into your physical dimension, this is relative to your physical dimension and experiences, and not necessarily relative to my attentions outside of this physical dimension.

ANJULI: Then probably what I thought goes more in the direction of feeling that our dimension now during this shift is more connecting with nonphysical dimensions like your dimension in a more open way?

ELIAS: Yes, this is more accurate. This is more of an expression of objective recognition of the reality of consciousness.

ANJULI: Yes. So is this more now happening collectively, that we as a collective and also the individuals are connecting with focuses in your dimension, with beings in your dimension, as compared to the past or what, that we are doing this action now more?

ELIAS: Yes, in recognition of consciousness as a reality.

ANJULI: Yes. So can dimensions at times, so too speak, move more closely... They don’t have to move more closely, but as we open up to them, in that way, probably. So could it be that we are changing a bit our relationship with some dimensions, probably also with physical dimensions, like other extraterrestrial focuses of our essences?


ANJULI: Then it could be that we start with a closer connection with certain other physical dimensions?


ANJULI: And that was partially mirrored in my dream when I connected with that other-dimensional focus of Lawrence?

ELIAS: Yes, you are correct.

ANJULI: He is part of one of those dimensions which are moving more close because of our connection.

ELIAS: You are widening your awareness and therefore allowing yourselves more of an openness to the lack of separation and the awareness of other physical dimensions.

ANJULI: Then we may collectively more experience encounters with extraterrestrials?


ANJULI: When I am continuing to read your sessions I am sometimes so tremendously amused when you talk with Lawrence about his love for extraterrestrials! (Laughs)

ELIAS: Ha ha ha ha! You are offering yourselves, in this widening of awareness and recognition of consciousness as a reality, the ability to move through space rather than around space, and therefore you allow yourselves more of an openness to other physical dimensions.

ANJULI: I still feel a connection with that focus of Lawrence, which I connected with in this dream. Is this correct?


ANJULI: I just told Michael that I sometimes have short visions or imageries or feelings of how Michael feels during the energy exchange. I don’t try to feel into it, but sometimes it’s just there. Is this correct?

ELIAS: Yes, you are correct.

ANJULI: And similar, when I read these earlier sessions I get impressions on how you connect with the people in the forum, like with the pyramid and the energies and something like that, and especially of course I am sometimes interested into how Lawrence is feeling. I also talked to Michael about that last time, that apparently since the disengagement of Lawrence the connection is so much easier for me. So that’s correct also?


ANJULI: Is Lawrence as essence now somehow more familiar for me because he has a new attention, or I understand more about his focus because it is now completed, sort of?

ELIAS: You allow yourself more of an ease without the actual physical manifestation. In this, you allow yourself to be interactive with the energy expression without the distraction of the physical manifestation and the physical personality expression, which incorporates physical language. You allow yourself more of an ease in exploring and generating a familiarity in energy expressions and not in verbal language.

ANJULI: We also talked about his other focus, George Harrison, because George Harrison had after all Maharishi as his master also. We were just so amused on how this suddenly turned out, a connection I had with this other focus of Lawrence. It gives me a completely new feeling of the connection with the essence of Lawrence.

ELIAS: Yes, I am understanding.

ANJULI: Michael said that Lawrence was always fascinated about how you suddenly see something from a different angle, like I did now.


ANJULI: He was generating with his focus of George Harrison but somehow also with his Nazi focus a sort of, like a certain way of interacting with the collective? Did this have something to do with this pyramid action, sort of?

ELIAS: In a manner of speaking, yes.

ANJULI: Interesting! I could talk for hours with you, you know that! (Elias laughs)

Oh, and Michael did not pop in! She said she is now popping back all the time last week!

ELIAS: Michael has been experiencing some challenge in adjustment to this energy exchange in this phenomenon recently. Ha ha!

ANJULI: She says you have changed; you are more intense, and she tries to adjust.

ELIAS: I am understanding. It is an adjustment of energy expression that I generate in response to the alteration of energy expressions that you collectively generate. For as you widen your awareness objectively, you also allow more of an objective understanding of information and allow yourselves to incorporate more of a volume of energy in your interactions with myself; therefore I also periodically adjust my expression of energy in relation to you to accommodate the increased volume that you shall accept.

ANJULI: Ha! We will just widen and widen and widen, and then we get even more Elias intense energy!

ELIAS: (Laughs) And so you do! Ha ha ha ha!

ANJULI: I asked Michael if he feels a difference when you use your various attentions, like the other Eliases, and Michael said right now he does not feel that because he is anyway challenged. So it’s a general unfamiliar of your energy and therefore he doesn’t feel the details.

ELIAS: Correct; I am understanding.

ANJULI: Do we have a sort of counterpart action, or why do I sometimes feel into this energy exchange of Michael? Do I feel it because of my counterpart action with you, or is there some sort of connection now?

ELIAS: This is your allowance in becoming objectively more comfortable in your interaction with Michael objectively, and therefore you generate more of a curiosity as you express this comfort in your interaction.

ANJULI: (Laughing) I am less challenged by the Sumafi-ness and thought focused-ness. (Elias laughs) They are VERY different! Lawrence was very different from me!

ELIAS: (Laughs) I am quite understanding!

ANJULI: I now feel I look behind the differences. (Elias laughs)

Okay, Elias! Whatever time has been, I think we probably have to stop.

ELIAS: (Chuckling) Ah, but we also shall continue!

ANJULI: Yes, yes, it does not feel that challenging anymore to stop the language talk. I feel you!

ELIAS: Very well, my dear friend, and I shall continue to be interactive with you, and I shall anticipate our objective discussions also.

ANJULI: Yes, we continue to be very, very playful together!

ELIAS: Very well! I express to you tremendous affection, as always.

ANJULI: Yes, thank you very much. I love you, Elias!

ELIAS: To you, my friend, au revoir.

ANJULI: Au revoir!

Elias departs at 10:45 AM.


(1) The “E-List” or “Elias-List” or email list that Anjuli refers to is either the Elias or EliasRose email chat groups on See and

(2) See session 800, March 18, 2001.

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