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Archive for the ‘Masculine / Feminine’ Category

im442It is said that everything breathes, in its own way – even the universe itself. As humans, we can breathe on many levels. We can breathe on the level of our lower self, purely for oxygen, and we can breathe at the level of our higher self as a way to attune ourselves to the energies and cycles of the the whole of things. One is only in sync with the physical aspects of the planet, and the other can bring us into sync with the fullness of the breath of creation itself. One is limited in its possibilities, and the other is not. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: The only other dream I remember, it’s like I was dreaming about the TV show “The Blacklist” with James Spader, and so it’s like his daughter and I are in one room and we want him to come, I don’t know whether it’s to help or whatever, but he’s in another room and he’s been tied up. He’s been captured and tied up, so he can’t come.

And it feels like anything else that happens in that dream has that same kind of energy, like we want something to be occurring but the person is not there, or they’re not available, or they’re bound up in some way.

John: Yeah, that’s adding more information to the situation, in that you have your identifications, and you sense your limitations. And, as you were telling that, I kept realizing one needs to say more about what that is in terms of the light; in other words, how is it that you breathe out light and then sweep that all back up again? How do you do that?

Well, this is done when you let go, and if, for example, you don’t have joy and you feel in pain by things, and you’re not able to touch life, you’re not able to be with the wholeness of things, in your out-breath you’re out-breath won’t be rejoicing. Your out-breath, as you’re breathing down, it won’t have an exhilaration quality to it.

This is what was behind teaching this, he was teaching this through a practice. He started off by going hah, hah, hah, and everybody laughing and laughing and laughing and laughing and laughing. And can you do that without it being forced? Can you actually literally let go to where everything is that kind of exhilaration, and joy, and exuding?

If you can, if you’re able to do that, that’s why laughter is so interesting because in the laughter is a letting go, and is something that propels, a true laughter, one that’s just a true belly laugh, propels into the outer a vibration of letting go. In other words, a laughter is a laughter because it takes and what it sees as a heaviness it is able to let go, and not let its mind get caught up in it. And it’s able to let go in a way so that the subtler aspects of the heart can see something, or are able to be subtle enough to see something so much more in terms of an overallness. And it has this tingle of laughter to it when it can do that.

You can’t laugh when you’re dead serious and you’re completely in your mind. There’s no laughter in that. You know, you can’t be distracted or anything because you’re all caught up then. But if you can just suddenly drop that, there is that laughter and that laughter effuses itself into the outer.

Now the reason why that heals things, laughter heals, is in that laughter there’s something kind of cosmic that happens in that the other person then breathes that in – and it relieves them. Do you see how big the breath is, the in-breath and the out-breath? They may start out as if they are individual lights, but they actually take in the wholeness of all that there is.

And so a person who is able to laugh and break the density, and the heaviness, of things, and it’s a genuine laugh, then it effuses into the atmosphere as another person in-breathes. It effuses into the atmosphere the breathing in of light. They breathe in a light and they can get it. They then are healed in a way in which they can let go of whatever the heaviness is that they had been carrying, only for a split second. I mean the laughter goes and then you’re back into breathing in the multiplicity of things that vie for attention, and you resort back to the fallback position of trying to grapple with that with your mind – and then your mind shuts off the heart.

That is why the training is generally a training towards working with the mind, to get the mind from grappling in its density. And then, when you do that, the process of doing that, the subtleness behind that, is the heart. You fall into the heart.

So that’s why you have all these breath practices, but nobody knows what they’re doing in the breath practice. Now the thing that is interesting is after the hah, hah, hah, then when he said okay, now without saying anything, feel that, inside yourself, as an out-breath. And you could feel that. You could feel yourself bringing down an expansive lightness, an auric light.

And then he said, okay, now breathe it back out, now breathe it in, and when you did that it’s exhilarating. And what you would find when you breathe like that is that you now are able to let go. That is what’s letting go, and what is it letting go of? It’s letting go of the mind, it’s stopping the mind.

And what are you experiencing? The essence of the soul, or the essence that is so subtle that it takes in the heart, and the heart takes in the world. Everything in the world is put in the heart. Only what is there in the world? There’s only this innerness which is this light.

In other words, the essence is this quality in which you bring something down which is everything, all that there is, in an out-breath. But if you don’t know that then how can you breathe it back in as light? And if you can do that, then there’s nothing ever going on. And then you go around able to have some experience, but you are having the experience with this quality of breath.

It’s the right breath. It’s the one breath. It’s the only breath. It’s the breath upon which everything is. It’s the one thing. You know, when Rumi makes his poems he talks about maybe there being 99 things that a person can do, and they can do all of those well. In other words, you can breathe down a certain momentous energy, and you can try to steer, and direct that in some sort of capacity, in a way that bicycles around in the myriad of things, maybe do 99 different things really, really well – but that’s not what you’re here to do.

What you’re here to do is to let go, to get into that breath, that quality, that condition that takes you to the emptiness. That’s what is meant behind those three words: Jalal, which is the masculine, which is the out-breath. Jamal, which is the feminine in-breath. Kamal is where you don’t need either one of them. They have come together as one, as a stillness, as an emptiness.

And to put that into words when that has happened, for there to be the emptiness or the stillness, that is because you’re only breathing light out, light in, inner coming into outer, and then that touches everything and gets swept right back up again. That’s how you’re supposed to breathe. You’re connected like that.

And so the key is to have all of it coming down, all of it going back, all of it coming down, all of it going back. And the out-breath and the in-breath come together as just a will of light, rolling in the light.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Right Breath

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a22spIt’s nice to think that we always face things head-on, with confidence. But, as we discover, not all parts of our nature have equal amounts of confidence. It’s true in waking life, and it’s true in our dreams. Here we find a woman on the run, hiding and being followed. Yet, since we are all the characters in our dreams, we can also see that there is also a wooing going on, as wary lovers try to find the best way to accommodate each other – so they may begin their future together. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I didn’t think I was going to be able to remember any dream from last night because I kept coughing; had a headache. But towards morning I had a dream and, in that dream, it feels like I’m a woman. I have some children. I’m living with a man, but I take the kids and I run away from him.

And I seem to go to something like a villa, somewhere in Italy, and the villa is kind of in a little village where they have all these white stone walls, stucco walls. And I’m hiding out there, and I seem to like it because it has good music.

There is a man there at the villa, but I can’t tell if I’m actually with him, or if I avoid him sometimes. It seems like I do both. And then there’s a woman who brings the man I had run away from to the villa, or the little village. Sometimes it’s like she helps me hide, and sometimes she helps him find where we are.

I also remember that there was a garden area with some marble steps and, at the top, there were these headstones that were partially made out of leather and alabaster. And they were the carvings that represented some famous lovers who had been buried there. I think they were performers of some kind, singers or something,

And you could kind of pull a little bit on the stone and it would come forward, and you could see the statue and the carvings. And then you pushed it back a bit and it tucked itself into the leather, which helped protect it from the elements.

I think three different statues there representing famous people that had been buried, one was this couple, and the other I don’t know who they were. And then it seems like I’m trying to keep a certain freedom, but I also have the kids there. It just wasn’t a real clear dream to me.

John: It wasn’t a real clear dream because you’re hiding from something that’s trying to break itself through. Even the headaches you have, that you pretend have something to do with dust and this, that, and the other, are actually the result of something trying to awaken, or come through. And you have these headaches as kind of a dense nature that you carry to try to keep things in check.

It seems that there really is something to this idea that a person who gets on a spiritual path gets to a particular point where physically they can break down, or start to suffer more. And, of course, a lot of it’s easily explained from the standpoint that they get more sensitive, or something, and they can’t eat like they normally eat, and require circumstances to be a little different.

And, in this particular case, in your particular case, your whole dream went into describing and portraying this whole quality that you have in which you are doing things that peek at, and yet somehow or another, work with, hold in some aspect of your nature, that which you protect.

In other words, you have these kids that you run away with, that are your kids. And then you have this peekaboo way that you deal with the masculine, with what you find there. But what you’re saying in that is that there is a setting in which what is important and necessary for something to come out, in terms of how it is that you need to be, well, that you’re sitting veiled in, yet you have your moments in which something comes out, and you do have a sense of what it is that has to be protected.

And then you take and you repeat that, in another way, where you see these statues or whatever and you realize that if moved forward they have one kind of dynamic; pushed back, left in a kind of staleness of the past, they have another look. And yet somehow or another you have a sense of the before, or of the timeless beyond.

And, the thing is, your dream, this dream that you were able to pull out, you weren’t able to pull out the other dreams before because the other dreams before would have involved you breaking through, confronting a physical dimension, that is there, because the subtle loudness behind the denseness of the physical dimension is something that is being kept in check yet by the outer quality of your nature.

It’s being kept in check for some reason because the time isn’t fully right, or ripe, for it to come out, apparently. Yet you have the peekaboo with it. And so, when you mentioned the headache, I immediately saw that this was correlated to something that inside of you that is trying to find its way. And the outer circumstances, the effect of the physical outer, is imposing this limitation.

The way that you work with that, or struggle with that, is causing you to slowly break through it – yet you don’t break through it as naturally as you could and, as a consequence, you have headaches and such. And, of course, almost in answer to a frustration, you have this dream.

And the dream portrays this little quality of, you might say, a scoping out that is occurring in a very steady and unfolding capacity. That’s interesting.

What a theme huh? Because the theme had to do with being able to recognize and identify a quality of a deeper innerness that’s at the depth of a person’s nature and being, even though outer appearances could easily, and tend to, suggest otherwise, because it’s the outer appearances that predominate, or appear to predominate, most of the time. Rarely is a person able to see through the outer appearances to denote what is trying to move around within.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Peekaboo

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00sWe may understand nightmares to show us some terrible truth, but dreams are always showing us a truth about the situation we find ourselves in, and sometimes it seems mundane – until we look at the details. Here, a simple game of ping pong, but the man is handicapped. And then a game of pool, and a woman needs to be taped into alignment. All in the midst of a noisy arcade – the hustle and bustle of life. This is our dilemma: how do we bring our masculine and feminine aspects into alignment in such a crazy world? (At the end of this post there are instructions and a link to download this recording to your computer.)

John: That way of portraying it in a dream is quite similar to my sleep dream in that, given that this was the particular theme, the image that ensued was: I’m in this place when this guy, who has his chaperone or person that looks after him, maybe it’s because of who he is, or how distinguished he is, or up in age he is, or who knows.

He checks into kind of this hotel, this establishment place, and in checking in I’m off to one side. He asks if there’s anyone that plays table tennis here. He wants to play table tennis. And I look at him, and because I haven’t played table tennis in a long time I think, oh, yeah, anybody to play table tennis with, okay.

And so as I open up a conversation with him I suddenly see that he only has one hand, and so I ask him, “So you play left-handed?” And he said, “No, no, no,” and somehow or another he takes his handicapped hand and he plays table tennis. He says, “Well, I play real slow.” And I say, “Well, I don’t play slow, I play a fast game. Maybe this isn’t a good idea.” And he says, “Oh, let’s try, let’s give it a try.”

So, it’s agreed. So the question then comes up: Where do we get a table? And he suggests maybe it’ll have to be outside. And I say, “No, no, no, it’ll have to be set up inside.” And I vaguely remember that there’s a way of doing it inside. And so I say, “I’ll take responsibility and get that set up,” and I point to an area where I think that once upon a time somehow long ago or something I notice that there had been a table tennis that could be there.

And it’s kind of a bit of an open area, and in this open area all around it is kids that are playing; it’s like an arcade or something all around this open area. Whether they’re playing on game machines of some sort or whatever, I don’t know, but they’re just rambunctious as can be. And I think, oh, this is going to be challenging. I don’t know how this is going to work because table tennis is a fairly focused game. It requires movement but you can’t have this kind of behavior in the way. It’s kind of an incoherent vibrancy that doesn’t pay any attention to how it’s bobbing around.

And so I set up the table, but as the table gets set up it turns into a pool table. And so then the image switches and, when something is to happen, it’s a girl, a young girl, that gets on the pool table.

Now all of this rambunctious activity around, that was vibrating around, which is similar to all of the action that you had in this house that everyone had to be gotten rid of because all of those ideas and mannerisms were too much; that’s kind of a masculine quality characteristic, it’s always too much to sort out, had narrowed itself down to where that was no longer an issue and it was a matter of alignment.

So it was almost like this pool table was like some sort of gizmo in which it was more difficult than it looked. It involved having to tape this young girl into an alignment to fit the table, as if the table spun a little bit. It was easy to get something out of alignment.

And so what does this image represent? Well, they represent the same thing as yours in that, to begin with, that this old guy, the old guy, is from the crown. You know, he’s the masculine energy. He’s the transcendent space. He’s the ancient energy. He’s the something that I look forward to doing, something that is ancient and long ago that I don’t really remember having done for a long, long time.

And yet it’s not that possible because things are off the ground. Things are handicapped, and plus everything is chaotic.

And then, of course, on the other side when one is considering the virtues of it having to have something to do, and everything being kind of a rhythm that has something to do with the breath, with manifestation, the importance of manifestation because the breath is into manifestation and out, and back, and back and forth. And everything about manifestation is a cycle in and out, a relationship is an in and out relationship, an eating is an in and an out aspect, that the combination of the two leads to a wholeness.

And so it’s as if I’m having to contend with the reconciliation of those two images. Well, it created kind of a complexity, a dilemma, because technically speaking both exist and you can’t seem to get by with one over the other. You don’t just look one way or the other, and then your dream points out that it’s all in the process. The way I come up with it is, one has to reconcile the fact that I have to contend with the old guy, and yet at the same time I have to deal with how that is in terms of manifestation – which is represented by the feminine.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Reconciliation

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