Archive for the ‘Fundamentals’ Category

meditativeThis dream elicited an excellent description of how the feminine principle works – in a natural way. And we can see in the world how that principle has been lost and subverted, but it is good to understand anew how the roles of the masculine and feminine principles are critical to the evolution and unfolding of life. This also shows a deeper level of what it means for a human to improve life on behalf of creation – a very high service indeed! (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I think like I have three dreams, but I lost the first one.

In the second dream, it feels like I’m helping take place in a race. I think about it more like a horse race, but I seem to have these small animals or people or something that race for me, but they’ll only really do well, or race well, if I have some kind of a playful interaction with them – like you just have to be in a certain space or it doesn’t work.

And at first I’m not quite enough in that space for them to do well in the race, but then it feels like we shift and we’re going to another race track, and I actually get involved in helping the other people that are running, or involved in, races and what they’re doing. And in the process of helping them with what they’re doing, it feels like I kind of get into the right space to then start rounding out my little runners.

And I feel like they’ll do well in the race, but it’s almost like I can just see occasional interactions with them because I’m kind of involved in helping everything happen. And, once I’m kind of in that space where it feels like they can have this kind of happy or playful race, I’ve gone around to see what else is happening where I am.

And I know I walk by one area, and it feels like the women there have gone to an area behind a stage and they’ve put on chadors, kind of almost like thin silk chadors, and then they go out on this platform and they all dance in a circle, and then they go back and they put the coverings, you know, down again. And, again, it was fairly light.

There’s other events going on all the time, but I’m going to leave this area now and what could almost seem like another dream is actually a continuation of this dream at this point, where as I go with a couple of the men and I leave the area, and it’s like I want to go to the ocean and they’re going with me, and this is an ocean that’s in an area of huge rocks. At one point we have to even scoot down for a long ways over a rock fall. It’s like I kind of like run down that on my own to get to a base, and then, as I go over, I find an area that I want to explore where I actually go to the water.

But I only want one of the men to go with me there, and I go over and it’s this deep blue-green water, and I am thinking about going in but I realize I’d even get my shoes, and things wet plus you have the sense that this is an ocean that’s really deep, and not entirely safe, but I find that kind of exciting but I just kind of like mark the location. I don’t think I get wet.

I go back. I’m still with just one of the men. I think there’s actually two men I’m with, but I’m only with one of them right now, and I suddenly see this strange house built into the rocks. So I go over to the house and I go in, and I’m by myself at first, and I go into this one room and I suddenly find that this room can shift and a musical instrument will just spring up and start playing music, or the room will shift almost like a puzzle box, and suddenly that room has become something else. And I’m totally intrigued.

At one point I’m even kind of about to open a door, and then I find myself hanging onto that doorknob because the floor of the room has disappeared, and as I look down another room opens up and I see a musical instrument, and then that shuffles and closes and changes and I see a place where the floor opens up to the ocean, and then it shifts and changes again and maybe I’m back to the original room where I can put my feet down. And then I go over to my left and up a bit almost like opening a door to an attic room, it looks like it’s going to be just a little room but, instead of opening up like into a cupboard, it suddenly opens up into a room where the owner of the house and three other men are, and they’re kind of like working at tables or a desk or things.

And I go in there and the owner starts communicating with me, but he has to do it mostly with his eyes or his hands because he can’t speak, he’s mute, but we have this connection anyway. But there’s one of his guards that can talk to me. Then the guard and I and I think the owner we begin to go about the house, and I take them down to a room near the bottom of the house, and I very gingerly take them in to meet the two men that came with me.

And I realize I have to do this gingerly because the men that came with me I realize work like for the Secret Service and some other organization like that, like the FBI, and the men that work for him work for something like the CIA – so you know that none of them trust anybody else. So I have to very gingerly introduce them, and then it feels like as I’ve introduced them that I kind of back off a bit. It’s like I want interaction more with the owner, and I also want something that opens up more to the ocean again.

John: The dream has a central thing that goes through it that is kind of like a description, a depiction, of the underlying aspect that is going on all the time in your dream. An underlying aspect is that the feminine is in touch with vibrations. In other words, manifestation is a reflection of vibrations. In other words, things rise up and come into existence and live themselves out as a vibrational flow – and the principle is channeled through the feminine. Everything is channeled through the feminine way because the feminine embodies matter and, if there is an imbalance in any regard, the feminine carries it, she reflects it. A feminine will continue to reflect the imbalance if she doesn’t reach a quality inside of herself of being able to take a vibration back to a stillness, because she carries that stillness, too, but that stillness gets repressed because she has no choice but to reflect vibrations.

Now what is a vibration, actually? It’s a kind of a flow. It’s kind of something coming out of a stillness and put into motion. In a roundabout way, you could say that it’s the input of the masculine, even, the masculine bringing the seed thought through and the feminine being the receptacle vehicle that receives it. And, in receiving this vibration, in taking in the vibration, because the feminine’s nature is such that she has to experience something, whether it’s divine in terms of a purity or not, her nature is such that she has to experience what there is. She has no choice in that matter. She is subjective in terms of her general overall nature.

And so, in that regard, that’s why she’s the container and the overallness. Now the feminine can declare war on being the container and, if she does, then she shuts herself off from a connection to the stillness. Now stillness is a very complicated word because there are levels of stillness, and there are degrees of stillness, and the first level of stillness that you went through was the level in which there was, at the very beginning of the dream, where there was something that just wasn’t right and there was a tone and a mood. And somehow or another you were able to bring a levity or a joy into that, and change it, so that it wasn’t as dour or as weighty in terms of its mood or its tone.

And then once you were able to do that, then you were able to go over a rock and in the Bible a mountain is described as obstacles, as an obstacle. Well, something that’s a rock carries a memory-type vibration. In other words, it’s very, very still and yet compact, and it carries a vibration that isn’t necessarily readily at flow in life. In other words, the feminine feels whatever’s at flow in life and goes along with that, and is actually part of the problem because she’s designed for purposes of being the receptacle that channels things through her. And it’s important for her to be that way as a wholeness because it is part of the procreation cycle.

She also channels all this other through her. She can try to declare war on that, which is what happens if she takes and attempts to act as if the function of the masculine is the problem and chooses to stiff arm and take on a demeanor and attitude against it. But when she does that, she just channels another mood – and that is not one of stillness. That is a mood of abstraction, and in the abstraction she is then repressing the vibration. In other words, the whole humor of all of this is that the vibrational feature is kind of like, because the masculine carries the seed thoughts, is kind of like a misaligned aspect of of the out-breath of the nature that comes down into manifestation. What it finds in manifestation as the home is the feminine, which then has to receive what is here and goes through and experiences that as the makeup of her domain, and channels what is readily there that readily comes in.

She knows that there is a difference somewhere deep within, because of her wholeness she knows that things aren’t quite right. She can hear the truth, but she cannot keep from taking in what is brought before her in terms of her nature. And so the whole resolution to this is in finding the space that doesn’t bite, you know, doesn’t react, that basically can take something back to the emptiness, because as long as it is a flow, a vibrational flow, it takes and goes on and on and on in terms of affecting things in a maintaining of the outer.

That is the readily apparent way of things, and in the readily apparent way of things in the lower-self aspect of that you have the moods, you have the disposition that just doesn’t quite feel right, there’s the whole orientation to whatever is the little shifts and changes that are occurring that have a quality of coming in as a kind of subtle flow. That’s the lower-self way of just being kind of a creature of one’s environment. Very much oriented in a way to the way animals function, where they just adapt and adjust and react to their environment.

But then the feminine can make this shift to another level of stillness, and you make this shift in your dream when you jump over this rock. Now like I mentioned, a mountain is considered an obstacle, but the deeper sense of how this is to be is understandable is that back to a stillness, and levels of stillness, there is a quality of something imbedded in the makeup of a hard, dense rock that’s very still, but yet still has the makeup of physicality because repressed within it is a vibration that is barely accessible if you can access it in a rock, which is what shamans try to do.

And when you access it in a rock, you are catching up with the future because that’s a vibration that hasn’t quickened itself. It becomes quickened like water eventually when it breaks down. It can break down eventually to a flow that can be in life. But if you’re able to take something and move it through its stages from a density, in other words bring it to a present, an aliveness in the present, but an aliveness as a stillness into the present, not an aliveness that is holding onto a mood or a tone or something repressed therein, but the idea of taking the future and bringing it to the present then puts you in touch with a higher consciousness, or a consciousness of the design – the feminine catches up with this design by this quality, this aspect of stillness.

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clip_2Here is a series of images that show exactly what a person deals with in their development journey. First it begins with a chase dream image, where there is a resistance to what is awakening inside. When the image shifts, the dreamer heads into the depths of herself to bring out deeper, inner aspects. Yet every energetic can be used by us in a constructive or a destructive way, so a conscious choice must be made. And then, the “wicked” stepsisters are gotten rid of, being the inner aspects that were causing the issues in the first place. It’s the process of inner transformation, one scenario at a time. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So the earliest dream I have, I know it was involving a chase, and one of the chases is a man that kind of has like kind of a very tanned, or golden, skin. But I’m kind of shocked out of the dream, and forget the rest of it, because it feels like he suddenly runs and jumps off a trestle way high over the ground. And he just jumps off it, and it shocks me so much I kind of forget the rest of that dream.

You know, it’s kind of like your player has suddenly jumped off the board, or something, you know, so I don’t remember much more about that dream.

John: Chase dreams have to do with you’re holding onto a veil or something, and you’re using that as your focus of attention, and pushing back with that veil. And so thus you create the sensation, energetically, of a chase.

If you drop the veil, if it just falls away, then you drop what is really going on, into your inner divine presence. Going from zero to 100, that’s what it would be like typically: if you drop a veil of 100, you pick up something of 50, and 40, and 30, and 20, you don’t make the full fell swoop. But the image, in and of itself, is the right direction as something just drops away.

Jeane: Then I have a dream where in part of the dream it feels like I go down these steps, and open some doors, and there’s a whole other world down there, a whole group of people that live down there.

It’s almost like I had parted some stone first, and then the stone opened up to some steps, and the steps went down to these doors, and there’s this whole other world that I go into. And when I come back out I shut the doors, but there are some people from down there that come up with me.

But as they go out in society with me, it’s like they’re able to do things above ground that other people maybe can’t do, and I feel like this brings them to people’s attention and then that makes me anxious.

John: So what you’ve done is you’ve gone down some steps into a place, and then you discovered something that comes out with you? That’s in keeping with the theme of the dreaming, in that as you take and you probe the depths of yourself you come to grips with who you really are.

And every trait and quality that you really are, has two sides to it. You could say it has a positive side, and a negative side. Or you could say that it has the side that’s divine, and the side that’s deranged, and a rawness that’s balanced or misaligned.

And so when you go down into the depths of yourself and you discover things that you don’t understand or, in other words, that comes out with you, and it causes you to go through all kinds of peculiarities, what you have done is you have tapped into the parts of yourself that are misaligned yet, that is like a raw energy or something, that can be extremely destructive.

And that’s the reason why human beings are veiled like they’re veiled, because they lack the training, and discipline, and understanding, and heartfelt clarity to properly handle these inner qualities of their own being. When they come out, they could come out as a reflection of the divine, or they can come across in some other perverted way.

It is always like that: within the saint is the Satan. It’s always like that, except the saint is a saint because they have overcome the Satan quality, or the demonic quality, of their nature, and are able to be effective in terms of intertwining things in a transformative way. And, of course, I’m talking about intertwining things in a transformative way that is in keeping with the wholeness of life – and not taking and rendering something asunder based upon the flip side misuse of the vibration.

And when you hear a teacher talking about why you need a teacher, because they can explain some of this stuff that lies there deep within, dormant within, that you could be thrown around by or affected by, that you don’t have a good explanation for in terms of necessarily the outer because it can get channeled and come through in an inner way, too. Basically the teacher is able to look at you and see the flip side of this divine quality trait, and with the flip side it’s always a tenuous balance because of the way magnetism works you have the flip side, or the mirror image, a Yin and a Yang. You have the Dr. Jekyll and Mr. Hyde. You always have those in the same package; a saint having basically moved completely beyond the qualities, or the conditions, of that other, that is in a raw loudness and destructive, for example, in terms of an energy that’s misunderstood. Instead having aligned or brought the vibration into cohesion with the inner divine essence that’s restorative and intertwining to the whole.

Jeane: Then I had a dream in which I’m living in this house that has a series of rooms. It’s like in the family situation it feels like there’s some women that have been somewhat imposed upon me, like stepsisters or something.

And as I go through the rooms, like from the kitchen, to the living room, to this other room, because it’s kind of a railroad style apartment or whatever, it feels like because of these women the rooms have been painted a certain color, like a deep pink and other shades.

And as I’ve gone outside I’m talking to somebody else that, as soon as these women leave, the first thing I’m going to do is repaint some of these rooms. And I’m going through and I’m talking with them about how I’m going to repaint them, because I’m going to make them lighter and smoother.

And maybe there’s one room I may leave the same for right now, in the kitchen, because the way it is doesn’t look too bad, but the other rooms I’m definitely getting a handyman and the first thing I’m doing is repainting them.

John: Let me see if I followed that. In other words, you went into a place where you have a bunch of stepsisters. And so what you’re feeling that you have to do is you have to…

Jeane: Get rid of them and repaint.

John: You have to repaint all of that, or change the look, or the appearance, or the feeling, or the setting of the place. In other words, they bring about too much. They are parts of yourself that bring out too much commotion. They react in this way, and react in that way, bite on this, bite on that.

It’s typical. You can imagine this. You know, if you go into a chaotic setting, and the setting is all haywire, and the whole place needs to be rearranged and readjusted – you’re not going to adjust it in that haywire energy. I mean you could see that it is in need of being cleaned or whatever might be the case. You’re going to have to get that which is causing it to be disheveled out of the way – and then you can take and transform it. And then, conceivably, if these other parts come back that they can then appreciate what took place.

But you can’t do that when they’re sitting there in the imbalance, because they’re the ones, or that aspect of yourself, is what has in its loudness created the mess. So you have to get rid of that loudness, that aspect, that denseness in order to access what it takes to polish and shine something up.

And so you’ve portrayed this as an image, as an outer image, as a quality in which you have these stepsisters, or basically aspects of yourself, and that’s how it is. In order to get in touch with what is real, you have to set aside that which is imbalanced, that is dense.

What I’m sitting and I’m looking at is you presented this in a masculine way. That’s what the masculine does. It makes black-and-white decisions. The feminine generally just works with the orientation of the whole and, somehow or another, finds itself moving around and describing things in terms of the orientation of the whole, of which you then say, okay, what there is in the whole that has to be absorbed, or taken out, or rectified, or limits in some capacity, the aspect of manifestation that you are in and contending with?

But in this particular case, you seem to have made a decision. The feminine usually doesn’t make a decision. The masculine makes a decision. The feminine is a container energy, but you’ve gotten rid of the stepsisters. You’ve made a decision. You’ve cut through something and then, as a consequence then, you then can resort to the overall feminine nature of something being aware and alive within at a depth. You then know how to make the place right. That’s surprising. I’ve never seen you dream quite like that before.

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Rainbow SunIn this series of dreams, our story from yesterday (see A Sleeping Giant) continues to unfold. What has been awakened is now a teenage boy and the dreamer is trying to integrate that new energy into the wholeness of herself. But, as the images proceed, we can see that there is an inner aspect that is resisting this change, and doing so by isolating itself. We see this in the outer when it is difficult to integrate groups of people, and we experience it on the inner level as we try to integrate more and more of our totality. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in this next little vignette, I seem to be sitting in kind of an old-fashioned kind of darker room, you know like with dark furniture, and the lighting’s not real bright, and I’m contemplating something. There’s a teenage boy there with me, and there’s some men standing not too far away.

And I’m aware that I’ve gotten this boy that he’d apparently been at some point isolated on an island, but now he’s with me. And I realize that the men in a sense are wondering kind of what use he is, but I’m aware that he was isolated on an island maybe that Amelia Earhart had crashed on, and that he’s probably a descendant of hers.

And so, at some point, if somebody weds him or something, the children could carry on that line – and that there’s a lot of value in that. And I realize that they’re not even at this point in time thinking of that.

John: See, you’ve created an interesting circle of which, like life has this way of revolving, always revolving back to a same sameness. But what you have, in terms of the big picture, is intertwined, but what you have in terms of the perspective around you is they don’t see the big picture.

In other words, they see something that is different and, therefore, different because of its mannerism of isolation, and so it tends to be not accepted, or not taken into a proper recognition, and therefore an unfoldment is inhibited.

Now you are looking at this from the standpoint of a wholeness. Some part of you inside of the matrix of all of this can look at what would be a wholeness where things go awry, and astray, but eventually cycle back because they have in the essence of their nature that which is redeeming. And, at any given point of a process, if just looked at that given point and not able to take into account the fullness of what is intended and meant to be, you’re going to have attitudes, and mannerisms, and bifurcated impressions that are shallow.

It’s because no one can see how the beginning and the end are one and the same. Instead there is the recognition, or the seeing, of the diversity and diversities that are trying to be accepted, and that a human being who is looking at the diversity only of their own face, or self image of things, is going to see nothing but diversity around. And so nothing can really unfold, or be shaped, or intertwined when you have this kind of constant pigeonholed… well, it’s a judgement and definition, and when you have that, things aren’t allowed to evolve.

Jeane: In the next little vignette, I’m sitting again in kind of a darker, older room on a couch. There’s a couple animals off to the side I don’t see clearly, but there’s a coffee table and kind of a small dog, a little puppy, right in front of me, and I have something fluffy in my hand, it’s kind of red I think. I toss it and he’ll go racing across the room and pick it up and bring it back to me.

I mean I think there’s another couple of animals in the room, but I don’t see them clearly. Obviously they’re not puppies even if they are dogs, and so I’m having a lot of fun with this, you know. And it feels like the men who are like the authority in the other dream are in a room behind me, because I’m sitting on a couch and two or three times I’m just taking this and I toss it across the room and the dog goes racing after it, you know, and runs back to me with it, you know. It’s really kind of a fun energy, and for some reason I’m equating this with some kind of energy my grandmother had.

John: So what you’re doing is, the first two images and dreams, actually kind of leave one’s self in a kind of a predicament because even though you have a sense of how something is to come together, what you’re seeing around you is something that overweights the situation. In other words, the environment of this big guy is such that he can’t be accommodated as things are.

And in the second dream, this perspective is limited and thus there is no acceptance, no joy, no flow. And the third dream is a breakthrough from all of that. In other words, you can have the setness off to one side, the guys or whatever that are sitting there, but what’s happening in front of you is going properly back and forth. There’s a cohesion.

The dog represents a joy and a friend, and he’s eager to go back and forth fetching things and bringing it back, and fetching things and bringing it back. Within that whole mannerism is a completion. Now the tone or the mood of the guy sitting somewhere off in the distance, does not have that, but what’s being brought in to the atmosphere is this vibe that has to do with this going back and forth and the joy of the dog fetching things – and that there is a complete circle that is being made.

The guy sitting off to one side will be sitting in some sort of tone, or mood, that will be keeping him stale, and stuck, and tranced out, but you don’t have that with this dog and this flow and all of this going back and forth. You have something that’s very fluid, and that is the atmosphere, that is being reflected as a solution to a need.

Jeane: Then as I was waking up it’s like I had this last image where it felt like that it was at a point where the boy from before is maybe now at an age where he can have children, but we seem to have to go to court to get permission for that, because those other guys are trying to block it.

And so I’m going to go to court with him, to represent him, but then I glance over and I see that those men from before, they have this white convertible and I even see them taking some big long rifles out of their trunk. I’m wondering how this is going to work out in court, because I’m not really an attorney, and they look kind of high powered to me. And I’m wondering if we’ll have an attorney to represent us. This is just kind of a domestic issue, you know. This kid wants to go forward. Maybe the judge can just handle this, but I don’t know. I’m kind of shocked to see these guys with their rifles and everything.

John: So this is what tends to evolve whenever something is pushed in a way, or something goes to a point that, is too much. In other words, out of the prior dream you have the guy sitting off to one side in his grumpy motif, kind of putting up with but not really accepting the play that’s going on near him in which the dog is going back and forth fetching things, and there’s kind of a free flow and a joy and a play that exists there.

But, you know, he just can’t get out of his awkwardness that he is carrying, in terms of how he feels and sees himself, so as a consequence that sort of demeanor, if it’s not penetrated, has step-back blowback effects, which is what is portrayed in your final image, in which it fights that kind of fluidity, it fights that kind of flow, it’s threatened by that sort of thing, it loves and needs to hold onto its idea of the status quo.

And this is the conundrum that we have in the outer world these days. We sit and try to reflect and represent a difference, which is a vibratory difference, that is hard for people to recognize and to see, and only some can see it, but if you’re not careful, and you’re too obvious with it, you invoke the status quo defensiveness that tries to maintain the patterns in life, the patterns of denseness in life, that aren’t working. In other words, it’s almost like it’s content and wants to stay with the devil it knows, as opposed to what might be different, which it has no confidence or trust in accepting.

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