Friday, October 11, 2002
ďThe Action of ShiftingĒ
ďExercise: Turn the Experience of Fear into a Tool of PowerĒ
Participants: Mary (Michael) and Don (Allard).
Elias arrives at 11:17 AM. (Arrival time is 20 seconds.)
ELIAS: Good morning!
DON: Good morning, Elias.
ELIAS: (Chuckles) How shall we proceed, my friend?
DON: Well, I have a few fairly short questions I think Iíd like to ask you, and then maybe Iíd like to try something a little different for me. Iíll talk about that after the questions.
ELIAS: Very well.
DON: Is Maurice Sand Ė I have a few focus questions here Ė is Maurice Sand a focus of mine?
ELIAS: Observing essence.
DON: Ah, observing essence! Because Daryl had that impression and I didnít really feel that strongly. Is that my only connection as essence to George Sandís circle of friends and family?
DON: A couple of years ago somebody asked you during a session what the essence name of Franz Schubert was and at that time you gave the essence name Mierra. Then in a session we had, you said Franz Schubert was a focus of mine. I wonder, was the approximation of my essence tone Mierra at the time the person asked? (1)
ELIAS: No. This is a fragmentation in the focus. As I have expressed, at times a focus may choose to be fragmenting and generating a new essence. This may occur at the onset of the manifestation or it may occur at any point throughout the manifestation. This individual chose to be fragmenting in what you would term to be near the disengagement point.
DON: I see.
ELIAS: Therefore, this also may be recognized as a focus of another essence, although becoming its own essence also.
DON: And that was Franz Schubert that fragmented. Is that correct?
DON: Speaking of that kind of thing, would you still approximate my essence tone as Allard right now?
DON: And I would still belong to Vold and align with Sumafi?
DON: I have the feeling that I have counterpart action with several people in this forum. Is that correct?
ELIAS: And your identification?
DON: One would be Daryl.
ELIAS: Yes, you are correct.
DON: And another might be Stephen in Australia.
DON: A third, and this is very iffy, would be a woman, Jeanne. I donít think sheís had a session with you, but has been on the Elias Yahoo list. If we have counterpart action at all, I have the feeling that itís very brief and temporary and probably one way, in that she has counterpart action to me, but I donít to her.
ELIAS: Correct, and is not continuing now.
DON: In fact, I had the feeling it was a very brief period, maybe a few days or weeks.
ELIAS: Approximately a few months.
DON: Oh, that long. Was that correct that it was one-way counterpart action?
DON: I was discussing this with someone over email and it occurred to me that I could... Youíve spoken of opposite and parallel counterparts, but I feel like counterpart action is really rich. I could feel some metaphors that sort of seem to fit the counterpart actions I described. I wonder if I could just run them by you?
ELIAS: Very well.
DON: I felt like with Daryl itís wispy and kind of like smoke. (Elias smiles) With my father it felt like a mathematical equation. With Dale it was kind of thick, like milk. With Stephen itís sort of like a postage stamp. Iíll leave it there. (Don and Elias chuckle) Iím not sure where you can go with these.
ELIAS: I am understanding your associations, and I may also express to you, in association with yourself and these individuals this is quite accurate. There are many, many different actions in association with counterparts.
DON: It does feel to be a very rich kind of thing, and I would take it thatís my inner sense of conceptualization that those impressions come from.
DON: Letís see, maybe one other question here. This one might be a little longer. Recently I heard the Bob Dylan song, ďTangled Up in Blue.Ē I actually heard it twice. Iíd heard it, you know, years and years ago. The first time I heard it, I didnít pay any attention to it. Then I heard it again a few days later and it hit me very powerfully. And first I felt like I could sense your energy behind, trying to get me to notice that song. Is that correct?
ELIAS: Yes, and what is your impression?
DON: Of that song?
DON: That song hit me on many levels, I felt like. Iíll talk more about these layers. Iíve had some very painful emotional messages lately, and Iíve been really discounting myself very strongly and trying very hard to change myself with regard to them. I felt like ďTangled Up in BlueĒ itself was a message from you to advise me to ease up a little bit and just let things go for a while.
DON: Oh, thank you! (Elias and Don laugh) That was useful. I donít know how well Iíve been able to do that, but even just getting that message was great! That song hit me in some other ways. As strange as this sounds to me where I am, I felt as if that song was actually very specifically describing either focuses or counterparts or something that I have a specific connection with. Is that correct?
ELIAS: Yes, in association with your translation of it.
DON: I felt one message from that song was just for me to notice that the veils are not so thick that are separating us. In fact, it felt like noticing that song was an act of letting those veils drop to some degree.
DON: Now, do I actually have a connection as essence to Bob Dylan?
DON: Did you say no?
ELIAS: No. I may express to you that you incorporate a preference in association with this individual and this individualís creativity, and you allow yourself to incorporate that creativity which he expresses as a method of imagery that offers you information and attains your attention.
DON: Do you have anything else about that song for me or does that pretty much do it?
ELIAS: I may express to you that you may perhaps continue to be interactive with those lyrics, for you perhaps may offer yourself even more information in relation to yourself.
DON: Interesting. Since you say that, it made me think that in my interpretation at least I saw some imagery of the Lincoln family in that song. Is that correct?
DON: That just amazes me, that feeling of connectedness between somebody writing that song 25 years ago and it feeling relevant to me now. Did I have a focus in the Lincoln family?
ELIAS: Not in the actual family, but yes, you do incorporate a focus in that time framework, which is a friend.
DON: I see. Well, Iíll continue to investigate those lyrics. They really did speak to me. (Elias chuckles) One other quick focus question. Do I have a relationship at all to actor Joaquin Phoenix?
DON: Would that be another focus of my essence?
ELIAS: No, but you do engage a focus which expresses a friendship in this scenario also.
DON: We havenít spoken about my particular choice of essence families that I belong to and align with. When I first learned that, I actually liked the combination of belonging to Vold and being aligned with Sumafi, because I thought that the Sumafi would give me some clarity in being able to express or at least think about the things that might be ineffable otherwise, and I like that.
But now itís hit me over the summer that I think I chose that for some other reasons also. It seems when I just read the description that youíve given about these families, that Vold and Sumafi would be kind of at cross-purposes, superficially at least, with Vold loving change, drastic change, revolutionary change, and Sumafi preferring repetitiveness. It feels to me kind of like an irresistible force meeting an immovable object. (Elias laughs) It really does, and I think thatís accomplishing for me in light of my intent.
My intent is to generate an intensity of expressions, to experience those. I feel like I generate a lot of intensity with the seeming conflict between these families. I feel like Mount St. Helens sometimes Ė the pressure just continues to build. (Elias laughs) Do you have any comments on that?
ELIAS: I may express to you, I am understanding your interpretation and your translation of the expressions of these families appearing to be at odds with each other, but you may also view that these families, in combination with each other in their qualities which are expressed, may be complimentary to each other and may generate, in a manner of speaking, a calmness in both, for it offers what you perceive to be two extremes that may allow for a balance in the expression of both.
DON: Funny, that hadnít occurred to me. (Laughs with Elias)
ELIAS: Ah! But, my friend, of course you shall generate a different translation, for this moves in association with intensity, does it not?
DON: Oh, yes!
ELIAS: (Laughs) I am merely expressing to you that there is more than one manner in which to perceive each scenario.
DON: Right. Speaking of these two families, there was recently a transcript published where someone had some car shifting imagery and it led me to notice that I have my own going on right now. It kind of reminds me of my translation of these families. I have a car with an automatic transmission and itís ailing a little bit. When I come up to a stop, it shifts into drive and starts lurching like it really wants to go. Iíll have to hold my foot hard on the brake, the car is lurching, and itís hard to keep it stable. (Elias chuckles)
I guess I interpret that as thatís kind of how Iíve been feeling now. Iím just building up tremendous pressure to move, and yet I continue to repeat these same things that I repeat and the pressure is just continuing to build.
ELIAS: For you are restraining yourself.
DON: For Iím restraining myself Ė exactly! (Elias chuckles)
ELIAS: Let me express to you, my friend, there has been tremendous shifting occurring in this recent time framework of a very few months.
DON: Well, there has been for me! So youíre saying this is global?
ELIAS: Yes, and I may express to you, in relation to all of the individuals that interact with this information there has been tremendous movement. You have all collectively incorporated a time framework in which you have allowed yourselves to be shifting and also to be moving concept into reality, and in this, addressing to your most familiar expressions.
DON: Oh! So that it may have been a difficult time does not mean it hasnít been accomplishing.
ELIAS: Correct, for in this, each individual has been generating their own unique experiences, which may not necessarily have been comfortable but have offered you each the opportunity to experience your most familiar expressions that you have generated throughout your focuses in this time framework. This allows you the genuine recognition of your own shifting, for each individual has also noticed their tremendous desire to move into the unfamiliar.
DON: Oh, interesting. I donít feel personally as if I have shifted, but I certainly am more aware of my desire to than I was. Is that...
DON: ...what youíre saying?
ELIAS: Correct, and in this, what you have shifted is your want and your desire and the direction of your movement. Previously, the want and the desire and the direction of movement was to be holding to the familiar, and generating uncertainty and perhaps even fear in association with the unfamiliar. Now, as you have shifted, there is a recognition of the familiar as not the object of your desire any longer, and a recognition that the familiar does not fit very well within your reality any longer. In this, there is generated more of a desire Ė less fearfulness, less apprehension Ė in turning the movement to the unfamiliar. This IS shifting, my friend. (Chuckles)
DON: Well, thatís encouraging, because I have felt the desire within myself to be much stronger, but I havenít felt any lessening of the fears that I use to feel a victim of myself.
Where to go with this? In light of what you said, I feel like much of what you said, everything you said actually, rings very true from my experiences over the summer since I spoke to you last. Iíve been feeling lately an extreme impatience with myself and my generating. I realize how little I accept myself now, and I wasnít aware of it before. I realize how little I trust myself. I realize how little I have been appreciating my experience Ė many of these kinds of things.
Iíve read what you had to say in terms of advice with these kinds of things, what we feel, but I feel like Iím kind of reading how to ride a bicycle. (Elias and Don laugh) I read these and I know Iím not keeping my attention in the now. I know when Iím not keeping my attention on myself. I can see when Iím discounting myself, but to simply do something else has been feeling a little bit beyond me. I wonder if somehow you could maybe in the rest of this session guide me a little bit to that experience or towards that experience, so that I have a little more experiential feel of where that is. I donít know if thatís possible or not.
ELIAS: First of all, my friend, let us continue in the examination of the actual action of shifting, for in your discounting of yourself you are also not acknowledging what you have shifted.
Now; this is not to say that you may not be generating fear and discounting of yourself in this shifting, but recognize what you are directing the fear and discounting of yourself IN. Previously your fear and discounting of yourself was directed in association with your perception that you may not incorporate the ability to move into the unfamiliar.
DON: Yes, absolutely.
ELIAS: NOW you generate a fear and discounting of yourself that you may not necessarily incorporate the ability to move OUT of the familiar.
DON: Yes, thatís right.
ELIAS: Which may initially appear to be the same statement, but it is quite not.
DON: I sort of feel the subtle difference. Perhaps itís not subtle, but I can feel the difference.
ELIAS: For this fear is not generated any longer in association with what is unknown or what is unfamiliar. The fear has shifted into an expression in association with what IS known and what IS familiar, and generating an experience within yourself in which you feel stuck in the familiar. But this is the challenge, my friend, to dare to risk, to dare to express one moment of stepping outside of that familiar. And I may express to you, you may generate that action in association with ANY EXPRESSION within your focus. It matters not what you choose to experiment with.
You may incorporate a very familiar action physically and experiment with viewing that action through a different perception. It may be as mundane as incorporating a bowl of soup Ė which may be a familiar action, but how may you allow your individual expression of creativity to move and therefore affect your perception and alter the experience of consuming this bowl of soup? For as your perception alters, your reality alters also. Therefore, the familiar action of consuming a bowl of soup may become a very new experience. (Pause)
DON: Iím letting that soak in.
ELIAS: Perception is a tremendously powerful instrument, and it actually does incorporate the power to alter your actual physical reality. It is merely a matter of your attention and how you are directing your attention.
DON: As I consider that and start to feel that, I can feel the fear start generating right within me physically. It starts bubbling up through to my head. I know that I generate that intellectually but...
ELIAS: Very well. In this moment as you experience that physical feeling, incorporate a very deep breath. As you breathe inwardly, move your attention to your breath and visualize it as tremendous power. Move your perception; turn the experience of fear, which you physically feel, into a tool of power. As you exhale your breath slowly and at length, allow yourself to breathe out the fear.
DON: I can feel that.
ELIAS: This action generates an actual physical affectingness, for it is quite difficult to continue to incorporate tension, which feeds the expression of fear, if you are concentrating upon physically filling yourself with breath, for this automatically generates a relaxation. This is the reason, my friend, that individuals may find it quite difficult to weep if they incorporate deep breaths. For the action of weeping incorporates tension and is an automatic release of tension, but is unnecessary and does not continue if the individual is releasing that tension through their breath. (Pause)
Practice this exercise, my friend, for this may be helpful in allowing you to experience your own power and your own ability to actually incorporate the action of altering your perception, for this offers you tangible expressions to move with.
DON: And thus, through this then I can start to get somewhere. I can gain more trust in my ability to generate what I like, what I want.
ELIAS: Correct. For if you may generate what you want in ONE expression, if you may evidence your power to yourself in one expression, you may generate this in ALL areas. (Pause)
DON: I think thatís really what I was looking for with this session. I canít think of much else to say. (Pause)
ELIAS: (Chuckles) Now; what is the identification of your most familiar expression?
DON: What is the identification of my most familiar expression?
ELIAS: Yes, your most familiar automatic response.
ELIAS: Not necessarily. I am speaking in actual physical manifestation. (Pause) A dis-liking of what you perceive to be your present scenario.
DON: (Laughing) Yes! Thatís correct.
ELIAS: This is your most familiar automatic response, and in this, you have generated experiencing intensity of that most familiar automatic response. Now you may allow yourself to examine this and recognize that you choose that and therefore you also incorporate other choices.
DON: Yes, and thatís speaking strictly of perception...
DON: ...that my most automatic imagery is to dislike my current scenario. That is, to perceive it as thatís old perception.
ELIAS: Correct. But what actually IS your present scenario? (Chuckles) And this is the trick, my friend, for the most familiar automatic response is to express a generality to yourself: ďI dislike my present situation or scenario.Ē What is meant by this? What IS your present situation or scenario?
DON: What youíre saying is that when I do this I keep it fairly vague. I donít even examine what my present scenario really is.
ELIAS: Correct! (Don laughs) You offer yourself generalities, and therefore in general you dislike your present situation or scenario. But this is your gift to yourself, my friend. In recognizing that you are merely expressing a general overview, so to speak, this is what holds you in this position of victim. For you offer yourself no information in relation to specifics, and therefore you also do not offer yourself the recognition of choices.
DON: Thatís certainly true, and this to some degree comes from looking at my scenario in terms only of generalities and not in terms of specifics.
DON: Thatís very useful.
ELIAS: An individual may move through their physical existence and may continue to express to themselves each day, ďI dislike my world,Ē and generate an expression of misery within themselves, continuing to express, ďI dislike my world. I wish my world were different.Ē
What is it that you dislike concerning your world? What IS your world? Is it your planet? Is it all that exists within your planet? Is it your society? Is it your immediate world that you generate in your physical location? Is it your world within yourself? What?
DON: Yeah, my world within myself Ė another generality!
ELIAS: (Chuckles) And in this, as you examine and as you question yourself and as you offer yourself more and more specifics, you offer yourself the opportunity to actually view what you actually DO within each of your days. Recognizing what you DO is also recognizing what you choose, for whatever you do you have chosen. Recognizing that what you are doing is a choice, you also offer yourself information that if you incorporate one choice, you incorporate many. (Pause)
You hold the power to generate these choices. You are already powerfully generating the choices that you are engaging.
DON: And thatís not a generality.
ELIAS: Each moment is a choice, my friend. It may not necessarily incorporate your attention upon thought. You may not be recognizing thinking concerning what you are choosing in each moment, but you are choosing.
DON: Yes, I feel like I do realize that there is some me that makes all of my choices. I see myself as a victim, I believe, of things outside of me. But I do have a tendency to think there is some me that is not me that is actually making these choices. Itís a strange thing.
ELIAS: It is not so very strange, my friend. Many individuals incorporate this same type of perception.
DON: And yet, where is that other me?
ELIAS: And this is quite reinforced in mass beliefs Ė religious beliefs, psychological beliefs, societal beliefs Ė that there is some part of yourselves that is hidden from you, and that part is the part that generates your choices, and the part of you that is not hidden from you is the victim of that other part of you.
Even within this forum individuals turn the information that I have offered in relation to objective and subjective awarenesses and they have incorporated the perception that the subjective awareness is the enemy, for it quite sneakily creates choices that you are unaware of and you do not want to be creating. Therefore, your subjective awareness is not in harmony with the objective, but is a secret saboteur. (Elias and Don laugh)
DON: Thatís right. I, in fact, use my orientation sometimes to feel a victim even more of that very kind of thing, telling myself at these times, oh well, Iím intermediate and I create subjectively, so how am I choosing that objectively? (Elias chuckles) Itís the same kind of thing.
Well, I think unless you have more to say, Elias... This is going to take a while to sink in Ė or itís not, actually. I think itís sunk in already. I just need to let it sort of move through me.
ELIAS: I am understanding; move it from the intellectual to the reality.
DON: I can feel it shift out of the intellectual already, only not quite integrated yet.
ELIAS: (Chuckles) And so you shall, my friend.
DON: Good! (Laughs) Well, thank you very much.
ELIAS: You are quite welcome. Practice this exercise and also practice noticing each time you are discounting of yourself. Pay attention and offer yourself a choice.
I shall continue to offer you my energy in encouragement, my friend, and I shall be anticipating our next meeting AND your progress report. Ha ha! Attempt to generate fun!
DON: The operative word.
ELIAS: (Laughs) I offer to you great fondness and affection, my friend. To you this day, au revoir.
DON: Au revoir.
Elias departs at 12:06 PM.
© 2002 Mary Ennis, All Rights Reserved.