In the Hunt

crocodile-incubate
Lynette Shelley

As long as we are in a physical body we will struggle to overcome the influence, i.e., the filters, that were created in the earliest years of our lives. To elevate in our spiritual journey, letting go to those influences is best done by becoming consciously aware of when we are being affected by them. Our dreams are excellent at portraying these issues, providing an accurate appraisal of where we are, as we churn them up and seek a resolution. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I have just one little brief image that got inserted before a little bit longer dream. In that image, it’s like I’m standing talking to a woman, and it feels like my husband or partner and I have a really beautiful house in a resort-like area, or we have an apartment or condo unit or something like that.

It feels like we’re like in a resort. And I suddenly realize that she can go there and stay there for a week, and have a really wonderful time, and see her excitement about it. And no one else there will really know that she’s just there as like a guest, or even maybe she’d even rented it from us or whatever for a week. No one will really know, and she’ll have a wonderful experience, like it’s not like when you have homes you have to have them all to yourself or something. It’s like you can let someone else use it and it can fit.

John: You’re attempting to realize, or recognize, that in a state of absence going somewhere and doing that or basically being in a state of nonbeing, that something more is able to have its way, or be present. And that this is better than, this makes more sense than the other in which you are scoping out, and then finding that you can only stretch so far before you have to run it through a filter to keep yourself somewhat oriented; again always oriented in terms of the mind, ego, and senses.

But in this image that you set out, you pointed out that there’s a contrast to that, that has you doing nothing and being able to settle back, and there’s something soothing about that. However, there’s also still something missing, and that something that’s missing is the principle of love as a dynamic principle. It doesn’t just sit in a state of total continuous retreat. It goes out into life, and it has to be conducted with the heart breath into life. But at least you’re getting the variables to look at, and then you align that, or bring it together.

Jeane: So, in the next dream it’s like I’m in my hometown. I’m a little off the ground. I’m kind of floating in the air a bit. I’m looking at the grade school. Initially, the kids are all in school and then I see them kind of come tumbling out of the building. And they have all different kinds of little outfits on. Some are bright orange.

It’s like I must ask somebody what’s going on, and they say, well, didn’t I remember it was Halloween? So all the kids are going out now in their costumes to trick or treat. I hadn’t remembered it was Halloween.

So now I’m trying to get to my dad’s house, but I’m off the ground in the air and I’m kind of floating and trying to fly, but I don’t seem to really have an ability to have a very good sense of direction. It’s like I can just kind of move around, and I realize I’m suddenly beneath a lot of power lines. I’m having to be really careful trying to just kind of swish myself past that area without getting electrocuted.

Then when I get down to the ground on the other side of the school and I want to head up the hill to my dad’s house, I see that there are alligators or crocodiles on the ground. They are great big things, like over six or seven feet long, some of them. And I get past the first few crocodiles and there is what used to be the old hospital, and it seems to still be a hospital now, and I reach there and I see there’s a couple of crocodiles on the ground between me and the hospital – because I’m thinking I can go in there and go out the backdoor and over to my dad’s.

Then there are these little kids, and one of them is like torturing one of the crocodiles. You’d think the thing would eat him, but he seems to be just butchering it, or skinning it, or doing something that I’m kind of shocked by. I get past him to the hospital administrator, and I ask why they’re letting this go on? Why he’s hurting the poor crocodiles? And she said that initially they wanted the crocodiles handled and they’d even called one of the doctors that could just put them to sleep or something, but decided the kids actually had the crocodiles handled, and he left.

And I said, it’s like I think that whole thing’s appalling because it’s almost like they’re skinning and killing the crocodiles, and torturing the poor things, even though they’re much bigger than them. But my focus is on getting to my dad, so I just go out the back door of the hospital and over to his place.

John: So, you start off in this dream still with a bit of the masculine motif mannerism, which means you’re flying, and you realize that you have to keep coming down, you have to keep coming down in order to be oriented to something that is the principle of creation, which is created with a quality of love.

However, when you come down you’re not opening that up to the degree that you need to. Instead you’re carrying little mannerisms or nuances, attitudes, something that’s acting as a fluttering aspect of your being.

And so that’s what creates the image of alligators. And you haven’t a clue as to what to do about that, because it was a lot just to come down, and then to come down and find out that you then have to deal with the idiosyncrasies, the moods, the mannerisms, the filters of things of which that then creates alligators. And a precocious part of yourself can play with those alligators, but it does so almost in a way that doesn’t really properly handle the alligators. It’s actually strange.

And the more sophisticated part of yourself is worn out by the whole idea of thinking that, after having come down, that now it has to deal with the vagaries of this other quality aspect of yourself that has the tones and the moods that create images like alligators. In other words, going from one aspect to another; it would rather have something just taken away, just lifted and taken away. But it doesn’t work that way.

And that’s kind of how it tends to be between student and teacher, too. The student actually believes that the teacher is going to take something, some burden, some quality, some mannerism that is haunting them. It’s going to take that off their back. But what the teacher really does, is the teacher connects and orients them to the principle, opens up that quality of the overallness in terms of how they really are both above and below, pulls the two together as a singular epicenter kind of note.

Or otherwise the masculine can come down, and all it will have is characteristics and qualities, and tones and moods, that are alligator obstacles that haunt, and prey. And yet you can know that it’s not supposed to be that way, so that you have the kids toying at it. But whenever you poke something that isn’t in sync, that’s a reflective image, that isn’t really real, even in doing that you’re studying it, you’re looking at it, you’re characterizing it, and you’re being captivated by it, and it isn’t real.

A part of you knows that it would be nice to avoid it, and that it should be avoidable, but the only way that that can be is if you have this quality inside of yourself that supersedes with the connection, the love principle that is the heart in its overallness, that hears something different in terms of what creation is all about – and doesn’t manufacture the moods, or the tones, or the variances that create the alligator images, or anything else as far as that goes.

And so your dream isn’t real loud on that principle, but it keeps cycling around in it. It’s not something that dominates, but it is something that you somehow know because it comes back and inflects that. It tries to inflect that by way of pointing out the alternatives, and none of the alternatives get you anywhere.

So it’s interesting that there’s some part of you that’s in the hunt for trying to connect to this quality that holds everything overall. It’s all meaningful from the standpoint that it all portrays how you’re off kilter from the tone or the mood, in a particular way, that you are filtering at that particular moment of your being. And you could sit there and diagnose that, or you could recognize that that portrays and points back to a latency of a heartfulness that is able to just blink its fingers together, so to speak, and it all goes away. And if you don’t catch that, then you stay in a reflective that is even there in the dreamworld.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: In the Hunt

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