The Commotion of Things


We have been looking at what it means to be connected to the world through the heart, rather than just through the brain or five senses. And when we speak of the heart it has to do with an inner feeling connection with everything that exists. In that connection is a stillness that is not available if we are disconnected. Yet when we put our focus on all the vagaries of the external world around us, our life is connected to the commotion, and the stillness is lost to us. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Then I know I had a dream in the middle with a phrase that seemed really important to me that I’ve forgotten because it goes on into a dream where we’re going on a trip with a group of people with Dean [a teacher], but I get separated from the group.

Now, when I get separated we’re out in a little more extreme landscape, there’s a large canyon kind of carved out of the rock there, and I see others going down into this canyon area on the trail, and I go over. And there’s one path, it almost is like you’re going to have to slide down the rock a ways and then there’s a trail right below there that I can’t see but I know is there.

And I look over to a side and I see there is a little easier way to maybe walk around a distance and get there, but I see other people going down this little faster, steeper way – so I decide to do that, too. And it works out okay, just is a little throat-in-your-mouth kind of step, and it’s a huge kind of canyon that feels strange, but I do know that as we get down to the canyon and we go over to the other side, and we go into the rock of the canyon, it’s like there’s a hotel that’s carved out of the canyon, that it’s almost like it has several levels to it including an area with steamed pools, and then the hotel rooms. And there must be other things in this area where you would go outside the hotel and be in a landscape again.

Well, at first I’m just in the hotel. The main thing is this is the only hotel out there, so I figure it’s where we must be staying but I don’t know for sure, so I stop a woman who’s actually a manager of some kind but she doesn’t know our group by the names that I know, but tells me that it is the only hotel out there. So I’ll probably get it sorted out if I go find the front desk and she gives me directions there.

So I must do that because the next thing I know I’m in one of these rooms that’s kind of carved out underground with you, but I must be agitated about something. I feel like I know what I need to do is take a walk. You even know what I need to do is take a walk, so I get up from the bed. But I had assumed you’d come and take a walk with me and you’re not going to, which really annoys me. So when I leave I just slam the door in a way that makes this big booming sound along the whole corridor.

Then I walk down and out and I seem to find the pathway that goes outdoors. When I go outdoors it’s actually daylight and I run into Dean and we decide to sit down at a table and I have a dream I want to tell him. And there’s a phrase and it’s a phrase I know from the middle dream I’ve forgotten, that I feel is really important. I’ve even written it down in ink on the iPad cover and I’ve got my iPad with me, which I put on the top of this little bench as we sit down.

And then I’m going to tell him the dream and I have to remember that phrase, and then I hear this loud crack and I turn around, and it’s almost like there’s some kind of a cathedral type building up on the hill to our right, that almost looks like a building from the very first dream, and obviously something’s going on with the ground there. And you can tell even a boulder is starting to come off the building, that we need to get out of there because these rocks could come down and hit us.

So Dean takes off, goes around the building, kind of back and around the building that we’re sitting on. I pause because I go back a few steps to pick up the iPad; I don’t want to lose it, so I go around the front of the building and I look at where to go. I see a tree in the distance is just totally shaking. It’s like a cherry tree or something in bloom, and it’s totally shaking. I even see a rock go flying through it like it’s come from somewhere.

I get kind of far enough out in the lawn that I’m not near a building that might fall down, and I’m not over near the tree where I saw the rock fall, and everything gets calm. When everything gets calm I look up to the building on the hill and I see all these people streaming out of it, on all levels of it, and they all seem fine. And then I walk around the building to where Dean had been a few minutes before and he’s coming back to that area.

Suddenly this bus pulls up so maybe we’re all going to jump on the bus and get out of there, but Dean is saying something, and I even have the sense he’s right, to just calm down, we don’t need to get out of there right away.

John: The underlying theme of all of this that is being played with, with nuances of how it opens up and how it unfolds, has to do with the way that one accesses a certain quality of heart clarity that is a connective intertwined linkage, that is designed and is conducive to how a person is meant to unfold.

In other words, every person has an inner essence that has been placed into creation, but behind that essence of emptiness there is like a thought or focus that has crystalized for an expression to be possible. But it’s not just any old expression, it is carefully tailored so that it is linked and intertwined in a way so that the emptiness and the wholeness of the heart, in its overallness, is not lost.

And so it requires a familiarity to conducive vibrations that hearken to the depth of that innerness, that is basic and deep within one’s being, that emanates through, that inflects through. Even though they are in the outer, this inflects through. And if you do not catch the inflection, then you move further and further away from this essence of emptiness, this emptiness of soul energy that’s universal in a wholeness of all of life. You move further and further away from it.

Now, as you are in life, in creation, there is like a quality that you carry, that is able to touch something in creation, as long as it remains convicted in its focus, so that it doesn’t lose track at a depth that it can feel inside of itself of that essence from which it was originally, from which it comes as an original orientation of beingness.

That’s the general schematic of the process, but then in your dream you have to contend with how it is that you keep the heart clear to the intended unfoldment of an essence that has been compacted into manifestation. You have to sort out what it means to be at an inner depth, to be at a deeper state inside of yourself, trying to bring something through, to bring something out, which is like the underground house.

In other words, to what degree can you go out there on your own, or not? And you have to be clear as to whatever that is that you’re identifying with, does it deviate from, is it a contrivance of mannerism, that deviates from a deeper knowingness?

The dream starts off with this deeper knowingness that has to do with the teacher, and then there is the attention that is placed upon another energetic that you’re attempting to bring and carry along as part of yourself. And then there is the recognition that, as you get into the outer, there is a tendency for things to be perhaps even more in a state of disarray. But there is a grace, like the cherry tree, that shows that this is somewhat elusive because it is all held together under a presence, and a power, and a connection within the heart that relates to everything being just fine, that is only possible when there is the orientation to just that energy, to just that essence in the outer. In other words, the bringing of the two together to create what is real.

When you look at something like the house is shaking, and the turmoil that is happening, and you look at that outside of the focus and the presence of the teacher, that means that you are putting something like that, the commotion of things, you’re putting that into the heart, and into your frame of reference, instead of the quality of essence that emanates from the teacher.

This is so hard to describe because what we’re talking about is to be careful what one puts into one’s heart, there are ways of putting things in one’s heart that take one outside of a natural connection, that they also have that is automatic and natural, that they can turn their attention to and maintain and sustain.

And in the first dream you’re indicating and showing that you can have waverings in terms of thoughts and mannerisms that can cause you to lose it. And in the second dream, that sort of thing is actually kind of taken out of it, and what exists instead is what you choose to take on, or take in, to embrace, and whether what you embrace is something that is still, and whole, or something that is not quite conducive to how your heart nature needs to be. So it’s all commotion.

It’s kind of an Alice in Wonderland kind of dream, you know, where you’re manifesting something to correspond to how it is that you’re tending to experience your heart essence. This is quite a theme isn’t it?

Jeane: Yes.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Commotion of Things

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