In this last dream (see The Standard of Living), John finds himself unable to relate to a superficially beautiful building environment. And that’s a deeper question, isn’t it? Why have we, as a species, fallen so desperately in love with things of our own making? Because our obsession with the material world cuts us off from the promise of our pedigree, which was created by a much greater power. We’ve made a bad deal: we’re settling for shiny trinkets and turning our backs on the true treasure. (At the end of this post there are instructions and a link to download this recording to your computer.)
John: In the third dream, and this is like the third shift now, I find myself in a very modern office building that is more high tech than what I am used to seeing. In other words, I’ve come from the back and to the front area, and there’s kind of a huge, nice, wonderful reception desk and the front of this building I know is gorgeous.
It’s landscaped wonderfully outside. It’s very inviting. It has a conference room to the left of the door, if you were walking in, and you immediately hit this wonderful reception. The brick and everything about this is all nicely rounded. It’s kind of inviting in its own way, but there’s still something wrong about this. It doesn’t quite grab me.
In other words, I’m here trying to find a place because I need something that I need to rent or something and there’s no one else around. I can tell it’s modern. It has everything a person could conceptually want, but it just doesn’t touch me for some reason.
And suddenly, out of the back area where the more basic offices are, suddenly a person in charge of the place walks by me on his way out of the building. He is the person who is… well, he’s kind of in charge of all of this. It’s almost as if he oversees the building, or owns the building or whatever, probably oversees everything about the building.
He is his own force of nature in that I do not even know how to relate to him. You like him, you could see his flow and his casualness, but I don’t really quite know how to connect. As he leaves the building, and I’m the only one that’s behind, he has to do something different to rearm the high tech lock.
It’s a type of lock I’ve never seen before. At one part of it he sticks a round object into it and he turns this around and around as if he’s reorienting the tumblers in some fashion, and so this is odd to me.
In other words, he doesn’t just close the door and lock it or something, he goes through this whole little process that arms it, or reorients it, in some fashion that I make an off-the-wall comment in regards to this unusual activity.
And he replies with a quip of his own. In other words, normally we don’t talk. He says it has to do with the way the heart is constructed for those who enter this place. He then laughs and I laugh with him.
I would have never guessed that he would laugh – as if he revealed something that’s almost a half a joke. I’m not sure, but his laugh is infectious. And not only that, who am I to, you know, I’d never seen this side of him before so I need to go along with it. And what is interesting is, as he is leaving I am still being left behind, by myself, in this beautiful place that I cannot quite figure out how to properly appreciate. I am still looking, in other words, for something.
The meaning is everything in life embodies a man-made quality of the heart. Awakening or connecting to this heart is the challenge. In trying to figure out what will awaken that which lies within, I am finding myself in a high-tech and sophisticated environment with that as my challenge.
Until I reconcile this uneasiness I go around kind of stifled and distant. An important clue is provided when the proprietor of this rentable area passes by me to leave. As he proceeds to lock up I try to make contact. He’s a very nice guy I would love to talk to but don’t know how. And he would like to reveal to me a heart side of himself that I am missing – but don’t know how to connect given the condition that I am in.
As I comment about my locked-up condition, because that’s what I’m really commenting about, and we’re all doing this in relationship to a process from which he is working with the lock, he says the lock is like this because this is fashioned for a specific type of person. That thought hadn’t ever crossed my mind before. As I find myself awkwardly laughing with him at myself, not really knowing what this is about, I am sensing the hint.
So the deeper meaning is the first dream during meditation had me wrestling with projected reflections in the outer that keep me on a tangent. The second dream dealt with using a shock effect to try and bring me out of the trance.
The third dream portrayed the problem as having to do with aligning the heart so there is an interconnected correspondence. So one could leave it at that; however, this dream is a repeat to another pattern of a dream, that I had before, in which I was able to see in this other dream that you’re never going to figure things out in the outer – the human condition of the senses and mind.
You’re never going to ever know what’s going on, and you’re never going to catch up with the whole, overall divine everything because you don’t have the senses to catch up with it. So how is this going to work?
So this third dream reminds me of something that is a parallel. Yes, the aliveness that is deep inside of me is something that comes from internal into outer, but I can’t go directly into the internal, and I can’t necessarily see it in the outer. Somehow the combination of the two is how I get it.
And so the thing that this has in common is it’s portraying the point where the inner and the outer seem to come together; can’t find it in the outer, can’t find it in the vastness of the inner. However, in the interval, or in the doorway, and in fact that’s how this was portrayed before was in the door, it was a reaction of going through the door.
Or it’s the aspect of spirit energy hitting creation and that sets off a spark and that’s where, somehow or another, there is the catching up – for a split-second, anyway. In that interval, in the doorway, is the interlocking lock combination that can be appreciated, that’s specially designed.
This is my bridge between the two worlds. A heart is designed to reveal what is from what was – at this in-between the two world’s point of reference. Isn’t that interesting?
That’s the part that you don’t ever quite touch or talk about because that’s kind of a masculine way of trying to sort it out, or be able to say it, and that is because the masculine is always trying to jerk down a spirit energy so it kind of tunes itself in as a consequence with this kind of mannerism. When the feminine is just experiencing it as it is, in terms of how it awakens in the overall – or what you have to catch up with, so to speak, which in your case is that light energy of yourself.
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