We are constantly faced with situations that are new to us, situations that have no defined roadmap on how to proceed. What do we do? We reflect on our principles: our principles of what type of person we want to be. Are we honest? Do we want to have integrity? They will guide us and help us to proceed. At a higher level, we can turn to the principles of the universe to guide us: Is the world here for me, or am I here for the world? Should I just take what I think is mine, or is there some way I could help? Am I acting like an animal, or am I acting like a human being? In the face of the unknown, all we have is the principles we uphold. (At the end of this post there are instructions and a link to download this recording to your computer.)
John: So now I go into ways of dealing with this blindsidedness, and I have three different ways that I’m shown that I am to deal with this. In other words, what I just went through, the meditation dream, provided the big, big, big picture, and then this sets the scenario in terms of where I’m at. And now are the adabs, in terms of how to handle that condition. In other words, you just don’t flip flop about. You have to have some principles to work with.
And so the first one is the image in which I am being shown over, and over, and over again that my blindside is I just run down a street into a building – and I’m always naked when I do this. I’ve had dream after dream where I seem to come to grips with trying to break through something, and then glance at myself and I’m running around naked.
Everything I do has a part of me that is naked, which means I am reflecting back on all these dreams night after night. I actually have this part, which is very strange, and I keep throwing that out. I keep ignoring that. I don’t talk about that. I don’t look at that. I mean I just don’t know what to make out of it – but now I do.
The point of each image is, I need to pause, and then go forward. In that way I am shielded and have my kundalini energy under control. I can’t keep doing the other, meaning just up and doing something and then blanking it out as if that’s okay, because even though I may think it is okay it is not. Those who can look will eventually see. I need to be more attentive to my whereabouts between each part, and each point, of unfoldment.
Another reason this is deemed important is I am not able to hear the real sound succinctly, or see the inner light of realness in its entirety, so I need to watch my step. I need to use the clothes of the outer, which are there for a reason, as I move about. So, anyway, that’s point number one.
Point number two, that kind of keeps things unfolding properly, is you have to switch this inner into outer to an outer rising up to touch the inner. Or, you might say, light rising up to touch light. You have to switch that. People can grasp that in the following way with the principle of just the facts, which is something of an outerness coming out; instead of it staying in its density it rises up with just the facts, or an inner revelationalism.
It’s a kind of revealing, and it has a directional unfoldment, where there is a hiddenness that remains invisible, or, to the degree that it doesn’t remain invisible and people see more into it, it’s for those with the need to know to be able to see more into it. In other words, if it’s coming down from above, and you’re just pointing it out, that goes over the top. But if it’s just the facts, then that causes something to be ascertained in a way that is copacetic to how things are in a density.
And you could say, okay, it has to be that way because I’m not in a position to see the full picture so I have to leave that to the greater intertwinement process that lies beyond my current consciousness.
And then to further elucidate the point that I need to take note of the catatonic out of control conditions of things, of myself, again an aspect of kundalini because when you have the inner coming into the outer you tend to be set off in ways that are a bit awkward to handle, because you don’t have the usual principles of a groundedness.
And so I have this image in which there’s a car, and the car has this family, and there’s probably six or seven or eight of them in the family. In other words, they’re in the front seat and they’re in the back seat, and they’re of all ages. And one of the teenaged boys that’s a little prankish, and not quite right in the head, is apparently playing with matches in the car and has a little fire going there that actually, he thinks is all okay and controlled, and there tends to be a bit of a deniability or a frozen amnesia to the whole scenario. But, from this image, I know that what is going on you do not play around as if everything is okay.
So instead of waiting to see what is going to happen next, which is what the teenager is kind of like thinking it’s all under control and that he can get away with this, and everyone should just ignore it, I go out of my way to get everyone out of the car as a precaution.
So the three adabs of the three images, in terms of how to work with something in which you have to contend with not being able to see everything straightaway, because you don’t hear all of the sound, and you don’t see all of the light and, therefore, you can’t just flaunt about.
So you have three principles, you know, to account for inner into outer kundalini imbalance.
- You pause. In other words, you don’t need to race out. You see this often in the dream group, for example, where all of a sudden the inflection gets it going, and it gets out of control, and it doesn’t hold the energy; so you have to pause.
- You gather the facts and only the facts, which means that you’re causing the outer to proceed to the inner that way, or, in other words, the light to rise up to touch light after having been invoked by a vibration. But you don’t take and try to noodle the vibration in. You just try to portray, through a revelation, by showing the facts.
- You act proactively, as appearances dictate, rather than assume it will all work out – if the circumstances appear reckless.
Those are three adabs to work with. The reason why this kind of came up was because what I was feeling and sensing is that I’m a bit out of control, in terms of what I see, and that is actually something that needs to be put back into its genie box.
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