On a spiritual journey, how does one proceed? It can be thought of this way: Humans can connect to higher things, but nothing else can. So a human can bring spiritual connection to everything it comes in contact with, if it carries the connection. Even internally, when we stir up issues or defense mechanisms, we can apply a spiritual solution to the issue, thereby elevating it. In this way, bit by bit, the universe is touched by consciousness of higher things. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: One dream I just kind of remember glimpses of, it was like I was staying in a household, and the focus in the household seemed to be on what we were cooking. And also the son in the household he was gone, and I had a girlfriend and I we would use his car maybe to go do the shopping or something.
And he had one of those little roadsters that’s kind of open, you know kind of the thing that Gatsby was driving in the movie, except smaller and closer to the ground, and so she would drive but I was always having trouble getting all the way down in the car. Sometimes I seemed to like to sit a little bit on the seat, you know up on the seat, rather than all the way sliding down into the car because it was so low to the ground.
And I used to wonder if it was really going to bother him that we were borrowing his car, like they’d said to go use a car but we were using a pretty fancy car. And it felt like when I got back to the house, mother informed me that I had an apprentice that maybe they’d already kind of put to work in helping fix the meal.
And the whole thing seemed to be oriented around some kind of gourmet cooking, so the apprentice is already starting on fixing some dishes, you know, and I haven’t met the apprentice yet, you know. She’s in the other room, or he is, I think it’s a she maybe, and that person would be helping us put together food for a certain period of time. And that was all I remembered from that dream.
John: Interesting dream. It also brought light to some symbolism I hadn’t noticed existed in the Gatsby, whether that was intended to be in there or not, hard to know, but it was there. Apparently you picked up on it; your higher-self did, anyway. That’s why you had the car.
In other words, you start off and you have a certain overallness or wholeness in your being, and in that you grow, or you mature, you sit in that, you are washed by that, you’re cradled by that. It’s a container kind of energy. The way I’ve always seen you is you have ample abundance of that, but you don’t carry it defensively. In other words, you’re not an energy, for example, that maintains the died and true, that one has to not look around too much or be careful because, you know, you could lose the devotional thread or something.
And so you sojourn off, you spring from this place, and you take the yellow car into life. Do you remember how the Gatsby car was yellow? And that of, course, causes things to be stirred up. And when you come back, then whatever it is that you stirred up then gets introduced, or recomposited, into your overall wholeness. That’s where you have the waiters and the other things that are there in the household. But you don’t just sit in that one place, that one space. You venture out.
The theme of the dreaming had to do with the steps that are taken to step out. I found myself even identifying, in the dream, with the statement that, we want union, but God wants diversity, so we settle for what God wants – for the promise somewhere of both. You know to have sat in the container energy of the house, where everything is percolating along subjectively just fine, is kind of a union state. It’s kind of a oneness place.
But you venture out, and that discombobulates things, that stirs things, that gets a little bit irrational, or imaginative, and everything else. And whatever all that’s about for having done that, for making that sojourn, which brings up the second Sufi statement, which I wrote down in my dream because this is the theme of things, that we make the sojourn into life for the love created by thee and for thee. You don’t necessarily portray the joy, in terms of going in the Gatsby car, you know, you just find yourself doing it.
But you could’ve had a certain excitement and joy about that, or maybe it was there, and that brings up this other statement then: we make the sojourn into life for the love created by thee and for thee. That is part of the first statement. You don’t just sit, in that there is a choice that’s made and one can reach a certain glow and, within that glow, there’s a certain trust that happens and you can, so to speak, go home with that.
Or you can do something that appears, so to speak, to be deleterious to the spiritual process. You could try to hand that back into life. That can tear things up a bit, that can lead to bewilderment and whatnot. And those who are on this path have made a choice to not try to take it with us. In other words, we try to give it back into life. We don’t just develop the glow, so to speak, that has a certain trust and quality to it. So anyway, your first dream is addressing this general motif theme that was the theme of the evening.
Jeane: In the next dream it was like in the outer reality I had this headache and cough going on, so the dream kind of addressed that. I was at a household where a lot of people had gathered for a large dinner, like a holiday dinner or something, and it was like I was controlling either the cough or the headache by kind of how we were sitting and how we were managing the dinner. It’s just an impression. I don’t know quite how to describe it. It was kind of by positioning.
John: Yeah, it’s kind of what keeps you from sitting in a container energy. It’s a contrastive kind of thing. It’s a challenging thing, because there’s a way of being where everything’s just copasetic, and then there’s a way of being in which it’s hard to be settled. And the going into things is hard to be settled.
It’s a very contrastive thing because you can’t say it’s one way or the other because this is something that, dependent upon the stage you’re at, pours both directions. On the one hand there is the restive that throws you out, you know, that makes the sojourn into the life, and on the other hand there’s the quietness, the stillness, that takes you to a oneness zone inside.
You’re playing with both of these simultaneously. That’s the state you’re in. The choice, so to speak, as portrayed and described earlier, is what keeps these two things in flux, mixes the things up. And if you were to really probe this out when you’re mixing these things up, to where one part of you can be kind of a container and a quietness, and then that part thrown back into a commotive and then figuring out how to reconcile that, and align it, and whatnot, you’re playing with energy lines.
And to begin with you start playing with the north and the south, and the north is deemed the direction that is going into the spiritual, and the south is deemed the direction of going into the depths of life, or in the depths of yourself. So, to begin with, it has just that orientation, and to begin with that can be kind of linear even. And it can be something in which you need to just settle back and take it in as a process, as something that is seeking to get you more aligned with yourself.
But, eventually, when you have gotten yourself kind of more in flux now, because you aren’t as tight and as defined, which you tend to be with your mind and senses exclusively, eventually you get because of the journeying to the north, and the journeying to the south, you come to recognize that there is still something going on – and that something going on is manifestation. And it’s about something, because you know that there is the beginning and the end are one and the same, and that the inner and the outer come together as one and the same, and so there’s something about life, and that then opens up the east/west motion where something comes in to the east and sets in the west.
So when you draw that in, you have drawn in something that now has an interesting geometric form, and if you draw with the north/south access and the east/west access and the points coming out, the angles coming out, you have multiple triangles. And then to these multiple triangles you add the quality that, at one point in time, you have a creative aspect that’s flowing around in your nature. And then you have a preserver aspect that’s flowing around in your nature, and that redraws the triangles with an overlay, or redraws something with an overlay on that image.
And so now you’re creating something that looks more like a diamond. And then there’s the recognition that you’re both in and out of time with this diamond, so that creates the spinning.
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