It’s okay to admit that, when we begin, we are lost. That’s only a problem when we don’t know it. What’s much more important is that we know that there is something else to be found. In the early days, we may think that’s just a better version of ourselves. Yet if we keep going, deeper and deeper, we’ll come to realize that what we seek is something much bigger than us, but that we do have our place in it. And that’s when our universal story really begins. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: I wish I remembered my dream better, but it seemed to be about, it’s almost like we’d watched the program on Lincoln last night, and so in my dream it feels like Lincoln has been assassinated and I’m trying to investigate, but it’s in modern times.
And the place where I have to go investigate it’s on a large factory floor, in a way, because there’s all this machinery around. And so when I first go in I actually park my car inside the factory, but I have to find a place to park it where it’s out of the way of a lot of heavy machinery.
And at first I feel like I’m kind of given the runaround by people there, and so then I go back and it feels like I find two women that I think know more about this. I follow them onto the factory floor and to where the car is, and I’ve changed where the car is parked so that I can drive around the factory better, I think.
That’s about all I remember. I didn’t really pull a lot of details out of the dream because I always seem to be busy investigating, or trying to get to the bottom of something.
John: So in the dream you have this energetic as if you’re trying to find something on the inner that has to do with an understanding in regards to Lincoln being shot, right? And then the place where you find yourself is like in a factory where there’s a lot of noise going on. And so you have a displacement, now, between the two.
The aspect behind the meaningfulness and the essence of significance, with regards to Lincoln, or this quality that has been shot, or that you know exists but isn’t quickened and present for you. Instead you’re in an environment in which there are a lot of machines. The significance of the car, and that image, is giving you information about how it is that you relate – on an inner level – with yourself, in terms of yourself, in terms of the depths of yourself.
The theme of the dreaming has to do with where a person is at in relationship to a depth of themselves, on an inner level. And, in looking at that, you can involve speed, you can involve the depth, all of these things come into play, but you have to also look at this dream in terms of the state that you’re in.
There’s three primary states. The dense one, the one that everybody goes through, you know, that’s part of being lost in life, is the journey away from God, as it’s called, which is a journey in which you’re going out and you’re doing whatever your particular notionality is, living off of your mind and your senses, and trying to make the best out of things in the outer. And you treat the outer as if that’s all there is. And so that’s a lower-self nature.
Then there’s the journey in which you’re traveling towards God, and in that journey you’re working on your shadow dynamics. You are kind of doing a top-down approach, in other words, where something is coming from the top down but it’s hitting all of this rust, and nuances, and naff and whatever you want to call this, that’s cluttering your nature, is holding you back, that’s defining your journey towards God, or limiting your journey towards traveling towards God. And you work on that. And so you would have dreams, then, with these various nuances and other dynamics then, in chase scenes or anything else.
And this dream isn’t in that state, either. This dream is in the third state, the state in which you’re traveling in God, so you’re in the warehouse. You’re trying to figure out where you need to be parked in the place.
And it’s kind of like starting anew now, when you’re traveling in God, because now you can be affected by distractions. I mean you’re more hypertensive, you’ve got the noises there you have to contend with, and yet you know that there is something that you need to catch up, with that has been killed, that needs to be understood in your nature.
And in every dream, even when you’re traveling in God, you can’t be too presumptuous that you don’t have still some degree of shadow dynamics, like if you have another woman or something like that. You still have inklings of the traveling towards God stuff that you also have to work with.
The big difference, though, in taking the journey into traveling in God is that is when you can start to do the work. That’s when you can change the story. When you’re still dwelling upon your own predicament, yes, to some degree that’s helpful, makes you a petter person, makes you relate and touch life in a better way – but it’s still kind of about you.
But when you start traveling in God, it’s about something else coming into an awareness that then facilitates an awakening that has to do with the whole, not just you. You’re intertwined, and so you’re in this warehouse. You’re in this process of traveling in God, but it doesn’t look very good. I mean you’re affected by this flicker of something that’s been killed, and how to better understand it, and you’re not making very good headway because you don’t know where to park and the machinery is noisy.
I had this broken up into the various segments, but that’s probably the way the masculine does, it breaks things up into segments as opposed to you just getting it in a fell swoop, and you then have to denote where things are at. To understand the dream you can’t apply the typical dynamics because it’s not in that state. It’s in the zone of traveling in God.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Changing the Story