It has been said that we live in a topsy-turvy world, i.e., we put all our focus on the things that don’t really matter and we ignore everything that truly matters – according to the purposes of the universe. Well, as we develop, we begin to get glimpses of this other side, the side that is connected to universal purposes rather than locked in to personal illusions. This dream portrays such moments, by showing the flipping upside down of rooms in a castle – which is a greatly expanded place, and state, to live in. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: So, in my dream, I’m in it feels like almost a large house. It’s kind of reminds me of old castles or something, but anyway I’m in the house. I’m more of an observer in this dream, and suddenly everything in the room just flips, like if it did a flip upside down and righted itself again.
And then I realized I’ve dreamt this before and that this is some kind of a contest going on. And so with a person in the room they were making everything flip, and maybe whoever flips best wins the contest. But I’m trying to figure out, because I know I’ve dreamt this before, I’m asking someone because I can’t remember, did the person and someone make everything flip?
And what I’m trying to figure out is whether when the person flips, what’s going on? Do they flip the whole building, or do they just flip a room in a building? Logic would tell me they just flip a room in a building, but I don’t really know. And I can’t remember from my past dreams. It’s got me so curious and I seem to be asking the person next to me, and am trying to figure this one out because I want to know how the flip happens.
John: The subject that one’s working with, the underlying subject that one’s working with, has to do with how the heart contends with everything in its surroundings. And so a heart that’s in a very, very limited surrounding generally doesn’t have much of a chance, because then it is staring at just what is densely hitting it in the face.
But you’re in a surrounding in which something has opened up in a greater dynamic way. In other words, you’re in a castle setting, so that you don’t have the usual defined conformities that keep you from being able to function, or resonate out.
In terms of the theme of the dreaming, because everything vies for the heart, you are coming to recognize that, in an in-between world, you’re going to have things that hurt and affect the heart, that are reflective in the outer, and then you’re going to have the aspiring part inside of you that tries to reach beyond all of that.
And, ordinarily, you cannot do that except in momentary instances when you totally surrender, or let go, and are able to find an acceptance in which you can function outside of the ordinary, imposed, status quo. The ordinary imposed status quo is a condition of consciousness in which you experience everything, you take into account everything, which means you are also taking in the direness of things, that too is coming into the heart; the stiffness, the awkwardness.
And so, when it’s like that, and you’re taking that in, then you’re limited. Only this dream is there to point out, and to talk about, the periods of time when you are able to escape such bondage, in other words, where you are able to rise above the typical human condition in which things are more or less held collectively in check – in terms of the human condition – by the fact that you’re taking in limitations, in the heart, as well as a higher quality way of beingness.
So, in order for you to get to a state in which this higher quality of beingness is able to move around, well it’s generally said that the soul moves around when you’re sleeping, it is not as confined by the throes of the outer, where the senses, and the mind, and the ego and all of that are going at it. In other words, the prisoner is not in such a castle anymore, supposedly.
Well, in the outer you can also get to a point where you have an openness in which the heart is free to where it doesn’t carry the anguish of outer afflictions that are noticeable in an environment that are all pervasive in a reflective outer environment. And so, when you don’t have that, you can find yourself flipping for a split moment in a way that exuberantly, inflectively, often times joyously, at other points in time it’s just a counterclockwise or something that catches everything by surprise. You can do this something that breaks the usual bondage, which is like the flipping, which is where you cause something to just flip.
So one’s been playing with this. It’s to be able to function in a wide open way, in a fairly continuous way, because one does not draw a form of attention in such a way that causes things to be questioned, or challenged, or have to be sorted out in terms of the reflective. The reflective can just accept it.
Because a human being has its limitations, you tend to get what’s called flip moments where something flips and usually they’re intervals, they’re intermittent, they’re not constant. And then the parameters of outer conditioning reimpose themselves.
And that’s why it is very, very, very difficult. You’ll notice that you don’t have a teacher come out and just go point blank bang, bang, boom, boom, hitting everybody in the jaw, straightaway, because that would be hitting the reflective, and then would cause a reaction that would rise up and tear away at this flip side state of overall beingness in an essence.
In other words, everything would struggle defensively. So what the teacher has to do, and this is the object lesson of how we’re dreaming and having to look at this, is that you have to find the way in which it is possible to touch things without causing trace elements of reaction.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Flip Side