It would be wonderful if the act of letting go in a spiritual journey could happen all at once. But it doesn’t – it requires that we make conscious choices, every step of the way, that we are choosing what the universe wants from us, rather than what we want for our selves. And that process can feel frustrating, yet the level of frustration is a type of resistance to the next letting go. The good news is that it can mean you’re close to making the next step. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: My initial dreaming was just actually processing that I had been watching Adele and following how the songs that she sings are actually stories from her life to a certain degree. So it was more like I was just observing that, observing her singing or what the lyrics were, and then that lead into a dream.
In the dream actually initially I’m somewhere and I’m observing people go into tents where different things are taught. In one tent martial arts are being taught, and it’s a rather sophisticated martial arts. So I’m initially observing that because I think it’s too sophisticated a martial art for me to learn. It seems pretty difficult.
Then I’ve wandered into a store nearby. I’ve gone over and I have sat, it’s almost like I’m sitting leaning back against somebody and I’m eating some bacon, and then I start studying the bacon. And I realize it’s like I want to put together a gift I’m going to take back to where the martial arts are being taught, but then if I take anything back there I have to make sure it’s organic.
Even if it’s bacon you want like a high quality organic bacon. I think I’ve given some bites of what I’ve eaten to the person I’m with who’s kind of right behind me so I don’t see them real clearly. I go around the store and I want to make sure that if I put together a basket of food that I include some kind of green jelly that I found and that everything has to be organic, like I said, even if it’s meat it has to be from an organic source.
Then it’s like I put together a basket and I take it back and now I’m observing and kind of shy about approaching where they’re teaching the martial arts. A man who teaches one of the martial arts comes out of one of the tents, and I notice that it started raining, but somehow he’s parted the air above his head so that it doesn’t rain on him.
So I decide to approach him because I want to find out if there’s kind of a spot where I can begin, like maybe there are simple warm ups or things that you can begin to learning the martial arts. That’s when I woke up.
John: What you’re doing is, is you’re portraying something in a way of trying to make it work that is in a sequence of there still being a cause-and-effect outer. In other words, it’s hard to let go of the synapses and the perceptions that we have that are like that, in which everything, images and such, come together. You have the catalytic quality with the flow quality – and how it is that you put the two of those together.
Now the thing that I was listening to, and listening for, was the next step of being able to let that entire activity go, which takes you to a whole other place upon which you then relate. And should you let that whole activity go, you would be in an energetic that takes you outside of things in the physical that just chew up one’s time and are actually sad. And there’s a way of experiencing all of that and it’s nauseating that one just does that reverb like that over and over and over and over and over again.
But the kind of reverb you’re doing here, as a dream image, is it has the whole sense of coming to one’s wits end. In other words, not quite. In other words you’re still trying to make something meaningful out of that. But one gets the sense, the way one is looking at it, where you have the catalytic aspect then coming back in to that which is designed or set to flow. In other words, it has a dynamic to it in the outer.
When you’re looking at the catalytic quality, and then the outer dynamic quality, and you’re putting them together and, thus, you’re having to feel what they feel like to be put together like that as an outward image, you come closer and closer to burning away that as a mannerism. Only when it fully burns away is there a shift possible – but you could take it all the way up to nonsensical as far as it being a way of being.
So when one is like that, what is really, really interesting is to dream that, and to see that, and to be in that, deep down you have a complaint. And it’s a well lodged complaint. You don’t know that you have the complaint, but you do, you have the complaint.
This is how you’re approaching things and in approaching things like this, this keeps you in a particular mannerism. And the complaint and the issue is: whose fault is that? What we’re talking about is a degree or level of forgiveness of one’s self, because it’s not, how can it be your fault? You don’t know.
You’re going around and you’re putting this sort of thing together to create a mannerism and an image and an inflection, and it’s meant to breakthrough that to something on the other side. And the fact that it continues like this, is that your fault? Well, it somehow projects at you like it is.
This is the nature of what keeps things in a state of confusion. People take on guilt, they take on mannerisms, they act as if they have to do it. Even the teacher acts like you have to make a certain kind of effort, but the teacher’s careful. You don’t know what the effort is that the teacher is talking about even. You tend to hear that word from the perspective of your own way of viewing things in terms of having to cope in the outer – but the effort is something different.
The effort is something in which you connect with something inside and you let everything else go so that you have the overall intertwined flow of yourself. And this is something that you still are holding onto. And so a really deep part of yourself, that is hidden, could complain. It actually is complaining. It just hasn’t come to the surface yet.
When it comes to the surface it’s like a nausea. It’s kind of like a throwing your hands up in the air. It’s kind of like at your wits end. And when you get fully through and to that, then you’re able to let go and step through a door into a place, and a space, in which there’s nothing but the overall intertwined flow.
However, for the longest time proceeding that, you go through the song and dance of things that burns through a kind of dross of your nature that is holding you back – until you eventually get to that point.
So what you’re doing is you’re describing the sort of thing that still keeps you contangled, with mannerisms and actions and whatnot, that resonate and shake your being in a particular way. And it kind of is what it is. At this point in time, it is what it is.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Old Song and Dance