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NID566- Fully Manifest Your Potentials

2009-03-15.  Fully Manifest Your Potentials

North Idaho  #206

Topic: Fully Manifest Your Potentials

Group: N. Idaho TeaM

Teacher: Elyon, Evanson, Michael

TR: Mark RogersJonathan

ELYON:  (Mark TR): Greetings, my friends, this is Elyon here to cast myself in the performance of the moment. I will seize the opportunity to work with the threads that have been offered about visiting a performance and the experience of such an undertaking. We have discussed this topic before, but we will go ahead and establish the groove a little bit deeper with further discussion.

Of course as you all well know, in order to put on a performance such as a play there is much preparation done before hand. One must be diligent and show up for rehearsals or for class and one must take time on their own to learn their part, and to be able to execute their lines one must have a command of the material, and then there is the acts of repetition where one gets an opportunity to run through the scenario and see how their lines interface and interact with the overall production. After enough time is spent and enough effort is devoted to the project eventually everyone involved becomes quite familiar with the undertaking. They all know their lines, and as well they begin to know the lines of everyone else, the cues of the music, the dimming of the lighting, and how the current production is supposed to happen each and every time.

Then you arrive at a time when you are expected to do this performance for others, and if you have done your part and studied your lines, prepared yourself, there is a confidence about going forward with the final production knowing that it should play out pretty much as you expect it to. But you discover that no matter how hard you try to replicate of duplicate precisely your efforts there is each and every time you undertake this effort slight variations which occur. Maybe someone forgets a cue or stumbles over a line and then, because they are aware of how the play should go, they might throw out a similar line which has the same overall effect but which certainly was not scripted.

Then perhaps somebody will miss turning up the lights at the proper time, and everyone involved in the production must instantly change to accommodate this new scenario of the moment. But all remain confident in the overall outcome of the play and in the successful portrayal of the messages intended even though there are many factors which are contributing to the live performance. The performers must wait for the reaction of the audience which was never there in rehearsal. They must accommodate any manner of unforeseen occurrences and yet carry on smoothly so as to achieve the ultimate goal of a successful presentation. All of these factors are well illustrated when you are involved in a production such as this. But I now would expand our perception of our lives being a series of rehearsed events.

Just about every routine activity that you can imagine in your lives you have rehearsed, you have done it before, perhaps many, many times, and therefore the scripthas been written so to speak for each event. You have a certain awareness as to how any event you are involved in will play out, whether it’s business, whether it’s meeting with friends; just about any event you can conceive of has been rehearsed beforehand, that is, almost nothing that you participate in is so brand new to you that you do not have some conception of how it should flow and what should happen. But like the formalized production of a play, each and every time there are new factors, perhaps a different mix of friends, perhaps a different customer in your business. Nevertheless you maintain a certain pattern, you even answer the phone in a certain way, and all this is an indication that you are following the script while simultaneously you are allowing for the ad libbing of your lines to fit and accommodate this preconsidered script.

If you are experimental and bold you may force yourselves into unknown positions or scenarios, and then you find yourselves winging it or, as they would say in the world of theater, going into improvisation, and these are times when you are forcing yourself to step outside of your scripted patterns and experiment and try a new and different approach. But these episodes are short lived, and then you return to your roles, your roles as parent, student, wife, husband, son, daughter, businessman, friend, lover. All these are roles that you have determined for yourselves how you will proceed and what will eventually transpire even if you are ad libbing your lines to that end.

You all were discussing earlier about a new dimension regarding the announcement that the hour has come. I will point out to you that you are well rehearsed; you have indeed learned the script and know the materials. But as you are becoming aware, the production is changing as it always does, and you must be prepared to perceive the change around you and formulate your contributions, your lines to deliver, to accommodate the new audience and the new players that you find are now a part of this production. So it is that you know how the play goes; you know the points to be covered and the significant factors at play. You are familiar with the basic script. But more and more you will be asked to be quick on your feet, as it were, with coming up with you new contributions that you would make. Knowing the overall script and plan, it is easy for you to ad lib and to offer a contribution that will be of significance to the overall plot. Even though your line may not have been rehearsed in advance the concepts and the understanding and the framework have. So hold fast to the big picture, the overall script, but be ready at a moment’s notice to pick up on a different cue and to change your tack if you see that your production has changed right before your eyes.

Thank you for allowing me this opportunity to work with some of your concepts and to establish this groove that underlies all of the temporal performances of the moment. Farewell.

EVANSON:  (Jonathan): Greetings, this is Evanson, I will follow Elyon. Regardless of how well a play goes, it is still nonetheless the play. I wish to present love in the same manner.

Love is a condition of being which truly has no opposite. Neither hate nor fear is its opposite. Adoration perhaps may be a better word for the opposite of fear or hate, for they are more of an emotionally and physically charged state of being. Love on the other hand may be likened to the descriptions you use to accurately present the weather of your day. To speak of humidity, it may be presented as high or low, of barometric pressure likewise and of temperature. All three of these are ever present and so is love. You may describe the day as cold, very humid, and with low pressure and another as its opposite, but the pressure is there, the temperature is present, and so is the humidity.

When you are faced with a difficult situation wherein you are challenged with a state of repulsion and a desire to be more attractive, know with a deep faith the presence of love, and just as each individual will define when each day is a warm day and a cold day, you can define when love is a positive, forward presence or a retiring presence. It need not be searched for; it is with you now. This gives you greater power, for to bring about the upliftment of a situation there is no requirement to become prepared, for the love is here; it only needs an adjustment in the scale of experience.

This may be difficult to realize and falls close to the similar idea of: if God is good why is there evil in the world? The goodness of God transcends the valuation of good experiences and bad experiences. The realm we inhabit of time and space of necessity requires these dualities, but in the realm of the One where description fails, often what is chosen to make that description as the positive word of the two. So love becomes mistaken as one end of a spectrum when it is in reality the spectrum itself.

Many states of spiritual being fall into the same pattern. It is humorous to me to witness ones saying that they have no faith when they do, just as you cannot say there is no atmospheric pressure; there is, it just may be quite low.

Thank you, my friends, for your attention. Farewell.

MICHAEL:  (Mark): Greetings to all, I am Michael. I am at once your father, your brother, and your friend. I hear the longing of many of your hearts in these days requesting to know what exactly I would have you do. I have told you that the hour has come, that the time is upon us, and many of your first thoughts spring to what actions might be taken, what jobs might be assigned, and I would honor your request to know what to do by giving you a direct request that you focus at this time on being all that you have learned to be and embracing all that you are as a result of your efforts in seeking truth and in finding me in this process. By choosing to fully manifest your potentials you are of the greatest service to your fellows and to me at this time.

So as the lights come up on our next opportunity to portray that which we know to be the plot of our Father in heaven you will feel secure in delivering your lines when your cue is perceived. This will arise primarily out of your state of being, not so much from your intense desire to do, for all the doing that you would offer in service must be conditioned by your state of being. Then no matter what it is you set your hands to oryour intentions to to do will be in alignment with the great plan and script before us. Please know that if it is your desire then you can do no wrong in offering anything that you choose to do. Doing is but a means to occupy the gap that you call time while you are in fact being who you are growing to be.

I tell you that there are no insignificant acts, and yet there is nothing in particular required of you. All that you would choose to do will be made holy and righteous if you are doing it while being a child of God. Do not concern yourselves with whether it is more or less correct to pursue this activity or that, for they are on this sliding scale. Both are valid and all are received as sincere offerings of one who is divinely inspired to offer them. It may not seem like a grandiose role to be given, this role of being a connected child of God, but I tell you all other roles are conditioned by this one primary task for which you have been rehearsing your whole adult lives.

Trust that this conditioning will bring you the right words to say, the right gestures to make, the right actions to take. They will all fall out of this first initial desire to be this pillar of light, this connected child of God. From such a point there is only grand roles to play and only wonderful opportunities, if they are seen as such. All of your life experiences may be conditioned by this state of being, no matter what you may be doing. So I pray that you can be in peace, that you can be in love, that you can be in light, and then I am quite certain that all you will do will be in glory and in righteousness.

Closing

Now go in peace and be in love and allow that your life will unfold exactly as it should, and you will be prepared at any moment to interact as you are manifesting your highest potential. Take my love with you and call on me if you are ever in doubt, and I will be there to assure you that all you do is simply a reflection of your desire to be. I leave you now in words only. Farewell.

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