In this final scenario from John’s dreams (see The Echo Within), he finds himself bidding on something. When his bid is accepted, everything shifts: a stream becomes an ocean, and a red fox appears. What he is being shown is that the process of a deeper inner connection quickly unfolds when he resists the detours that happen when we get caught up in the outer. Being grounded in creation requires both the spiritual connection, and a heartful touching with the outer world. (At the end of this post there are instructions and a link to download this recording to your computer.)
John: In the second dream, I’m compelled to engage in a negotiation over what is meant to be. I play coy, but that is just a show. I bid what I feel is an acceptable amount, and a person who has the authority to accept or reject the bid, in accepting my bid, waves a certain cost and expenses that ordinarily exist as part of a closing.
This person says, “Once the result is established, there is no reason to drag this out any further.” I still see myself as being situated near a stream. In other words, this shifts a little bit. I still see myself as being situated near a stream in which access has to go through a heavy overgrowth around the stream.
But that image changes. The embankment becomes a shoreline that I am able to easily move along, and from there go effortlessly to where I have agreed to be at the appointed time. The appointed time of course is this closing that has happened, and so even the shoreline has opened up once that has happened.
There is a shoreline, as opposed to the stream being bounded in by dense overgrowth. And once the shoreline opens up there is actually a red fox that is able to be realized, it visits this area, which normally I wouldn’t know about. And that is an energetic connection in some fashion, too, as part of recognizing and holding onto an energetic connection. It’s very subtle, it’s very shy, the red fox is. Yet it holds a noted connection.
Like the first dream, the theme of being touched in an undeniable way is the central component. Because that has occurred, time and events hold no further sway over that which is inevitable. The shoreline of a stream only appears to be covered by brush. Deep down I know that this is the time in which something safeguarded, like a hiddenness with a red-fox quality, is waiting to be known.
Until then it percolates as a quiet hidden way in my nature of being. And of course, until then, I also then perceive things as having an effect that keep me from connecting or touching. The coming and going that is symbolically imaged as a quality that resides in creation like a red fox, hidden from everyone except for those who are given the eyes to see that which waits to be seen – that is how something is revealed.
The second dream indicates that when the time is right, the barriers of all semantics simply fall away. I am told there is no need when that moment is reached to drag the dance of awakening out anymore.
So that kind of set the template of something in an over-the-top capacity. However it’s not actually over the top as it appears because the dreams themselves point out that for this condition to exist there has to be a certain quality of the heart that is able to touch things in life.
I’ve actually felt that that was kind of the problem, in a way, in terms of what my higher self said, is that I allow myself to deviate a little bit as if I can say something about something. And just that little bitty step causes me to lose a way that I’m holding something.
And I’ve also felt that it is possible to go into and walk around these casinos and touch things just by the movement of one’s presence, but not if you’re walking around aloof, or anesthetized, or protected from the vibe of things there.
You have to be able to be in the heart, in that, and in a heartfelt state, or otherwise you’re going to be ungrounded. You’re going to have this ability that floats above that which you perceive, just like I can come down steps and free flow really, really fast. It’s like I suppose the image of this kind of thing developed with the idea that you can actually go down, slide down a railing faster than you can walk down the steps.
Well, in this particular case I just jump, touch the railing a little bit, and free-fall, and go around and around or down or however that goes really, really fast as a type of flying even, a free-fall flying.
I mean, that was at least somewhat of a connection when the first dream indicted that I couldn’t even get into the water of life. I had an attitude about it and it was too dense, which means I was too light, I was just too much spirit and not enough spirit touching, and going into, and being in matter as well. I still have an aloofness.
What that feels like, to the breath and everything, is it feels like a lightness, and it’s an enjoyable sensation because you feel a little bit out of it, in a capacity that has a certain degree of freedom from things in the outer – but you really don’t. What you’re doing is you’re creating a timing gap from the moment, because the moment is always grounded. And that timing gap difference is a quality in which you can feel the heart.
That’s what eliminates that. So what can happen can be, as my friend was showing: you come down every step. Your feet touch every step, and you can actually go faster that way than if you think that you can free float through it all.
And you’re going faster and at the same time it may appear to be slower, it may appear to cause something in which you would by preference like to have this other sensation, but it’s off the ground too much. Yet you can awaken something, when before you’re just going through the motions because you’re too aloof, you’re too much out of body spirit.
So you’re able to hold this heartfulness in a way so that it can actually touch things in life, which I guess is what the Kogi training is all about when they spend 40 years for example in isolation, a person who is to be a director in the indigenous way, so that the effect of the outer doesn’t straightaway dominate.
But even then it’s pointed out that there can be a struggle because your imagination of things and whatnot when you’re in a state of darkness, and having to relate in a particular way in the inner when you’re in this darkness, and then suddenly seeing the aliveness of things around you is quite a shock and can knock you out of this linkage.
So even then that is a bit of a struggle, and so it is almost like the hint of all of this is that somehow or another here we are directly with our eyes wide open in the outer, having to somehow or another go back into these other levels inside of ourselves in which there is this greater heartfulness that extends to the whole of everything in existence in the universe even.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Dance of Awakening
