A Different Approach

We often see the resistance we are putting up, inside, when we experience the feeling of being chased in a dream. What we are trying to escape from is often a deeper connection between inner aspects, or we are avoiding making a brand new integration that scares us for some reason. In this dream we also see the outcome of such an integration: a new ability to utilize an inner power to move forward in a different way. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: As far as I remember about any dreams I had closer to morning, I think they were just about the headache I had, almost like how to work with it or something. I don’t remember that as well. 

But I had this dream and image last night and, in that image, I’m in this black buggy being pulled by a horse. It feels like there’s a young boy or young man in there with me, too, I don’t quite see clearly. And we’re being pursued and trying to get away – even maybe being shot at. 

And then the horse shakes off the traces that are pulling the buggy and goes down the road a bit, it stops in the middle of the road. And now it’s quite bright out. And then the horse goes down there and then he turns around; it’s a red horse, a roan horse. And I go up to the horse and it agrees for me to place a rope in its mouth, just like taking a bit, and I get the rope and I get on its back. 

And it’s fine so far, but then when the man, or the boy, that had been in the buggy with me comes out and gets on the horse, too, the horse at first slumps down like it’s maybe all too heavy for it. But then it gets up. And then we seem to get away, even though someone’s chasing us. And I have a sense that we’re okay. 

And then it’s almost like after all this is happening I see a flash of the boy that had been with me and I see that he’s on a train. He hitchhiked a ride on this train, is my feeling. And there’s this white camel that has come and it’s kind of laying outside the car he’s in and maybe even stuck his head through the glass, like it can pass its head through glass. So it can stick its head in the compartment where he’s hitched this ride for wherever he’s going, like, he’s just going to go on to the world or something. And that was the dream. 

John: So the dilemma that gets this going on multiple levels has to do with getting beyond a complaint. And the complaint is that something is too much. And when you get beyond the complaint of something being too much you actually can travel to other levels, you can actually take in other levels. 

So there’s a pressure on you. In terms of the pressure, and because it’s a horse, a horse represents power, and there’s a way of surrendering to the power, or going with the power. And that if you don’t it’s too much for you, or you have the sense that it’s too much – the power, all of that that’s going on is too much. 

Each of those things is trying to break through. I mean, you’re starting off in kind of an oppressed state, you’re starting off in a scenario in which the situation around you is not something that’s balanced. In other words, the flow is constrained. As you gain some sort of distance against whatever it is, and try to catch up with yourself, then it’s as if something is too much. That can be like a type of exhaustion. 

The key is to go into this stuff, you go into what you experience inside, kind of eagerly, not feeling like the whole thing is a bit too much. Or, otherwise, you’re accepting an exhaustion, or you’re seeing it as exhaustive, instead of seeing it as an unfolding process. I mean, this continues, you have level after level. This is like the first step. The first step was the whole sensation of something that is pursuing you or oppressing you. And that when you gain a bit of a reprieve from that, you’re then required to shift and break through and not be in a situation where you can’t quite catch your power, catch up with the power, as if something is too exhausting. Because this is just the beginning, there’s more to come.

So the boy goes into the future, that’s an image where something comes into its own. Something comes into its own and there’s a connection that’s made, and it’s able to travel. And as you said it had a whole futuristic sense to it. The other was like the precursor to it. It was like something that built up to a crescendo and then the whole thing is about something able to approach life differently. 

So, in the first part of the dream, you are oppressed as a woman, as the feminine, and not able to take on the masculine at the same time. And in the second part of the dream the masculine is complete. The boy is able to free-flow and has a rapport with his nature, which is more than just power. I wonder what a camel stands for; it’s probably like another sort of power, but in a different disciplined way. 

It’s like being able to venture anywhere: on the train, with the camel. It’s like another realm. So the horse progresses to a camel, and you catch up with a purified camel, not one that spits and carries on and acts up. One that’s well-trained, one that does the bidding, that’s merged with its owner. That’s attentive to its owner.

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Knowing Your Place

BN-BL359_0210ho_J_20140210112634The idea of “knowing your place” is usually a condescension, an insult. Yet we, in our lives, should know our place: our total connection to all that exists. To accept anything less is to cede the greatness of our possibility; we must inhabit the many floors of the house (of us), as shown in the dream image, and harness the power of the horses that are available when we are ready. This isn’t a movie script, this is a message from one part of a life to another part, to show what is possible. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In the next dream, you and I have gone to this university, and we’ve hurried to get to a class. It’s a really large classroom, some professors up there presenting. It’s not quite like the normal class that’s held in an auditorium. So it feels more like one of those classes they might have the first day of school, where they’re explaining something.

But, as we’re there, and as the professor’s up there, I realize we must have missed out on some point of the orientation because some things aren’t quite making sense. And we didn’t really go by the registrar office and do a lot of things, either. It’s like we just showed up at this class.

And I think, at some point, I even have a thought that maybe in the past, when I had been involved with the school before, I had even done something where I cheated on one of the tests and never told you, I don’t know, just a vague feeling I have. But I do know there’s information we don’t have. And so some things aren’t making complete sense.

Then when we leave the class, we’ve been in such a hurry to go to the class it’s like we’d put everything in the car and we’d showed up at the university. Well now I realize we don’t have a place to stay for the night. You’re looking at me like, okay, where are we going to stay? So now I’ve gotten in the car and I’m driving.

The town that we go into is a little bit like my hometown, and I remember, maybe from a previous dream, that there’s a section to the right where maybe we could go there and I knew someone that rented out rooms to university students, but I seem to feel like she only rents out to women. So, if we go to the left, I know there’s a series of houses there and some of the people have guest houses or other things and they rent out to students – and I’m pretty sure about that.

So you and I walk up to the door of this one house and a family that lives there. Well, they suddenly just sweep us in. And he has something to do with horses because there’s a corral in the back. He manages horses and people that go out on horse excursions for some wealthier person. But when he sweeps us into the house, the first thing we notice is that it’s like a two floor house, and he and his wife and a son, at least, live on the ground floor, and his mother and what feels like maybe either a couple of his daughters, or sisters, live upstairs. And they just sweep us in and show us right to a room, like, of course, we’ll stay there. We hardly seem to have much say in it.

We first sit in a little room, in fact, two little girls come to stand in the door and they’re staring at us; they want to see what we look like. I can tell that there’s an estrangement between the wife and the mother, because the mother stays mostly upstairs, because my wife finds her difficult to deal with. When I look out the window of the place and I see the horses, I realize we’ll probably be able to go on some horse rides.

And suddenly it’s morning. Then I seem to go in and I’ve gotten on a bed and I’m sitting and talking to the wife, because I can tell there’s a stress in the house with the mother there. That’s all I remember of that dream.

John: Well, this dream is like two dreams, in that you have the first part where there’s something that you have to do in terms of your overall presence in life. The way to look at this dream is to act like everything in life is like a shadow to you. And so you have to confront that in an honest, and straightforward, way; and you have to take it in. In other words, you don’t take it in as a sight, you take it in as something that you encompass.

So, when you go to the university, the immensity of the university, you have to take in that whole immensity. If you don’t take in that whole immensity, there is some aspect about you that is kind of lying, or is not telling the truth, in terms of what it is able to do.

Then the dream continues, to add more information, by indicating that part of taking on all that there is in the School of Life involves, then, you’ll have to do that. Because if you don’t do that, then you don’t know where your place is, because your place is in the wholeness, or in the overallness of life.

The feminine pretty much directs that sort of dissemination of a flow, because the masculine works with the principle more of trying to know where something is at, sight-wise, when the feminine is supposed to know naturally. So the feminine needs the power of something, though, in order to encompass, or to sweep in, in an overall sense, to keep from having heebie-jeebies, or whatever, in terms of the overallness, does not know that they have this immense responsibility.

So, to point that out, the feminine goes to this family that sweeps them in, meaning that they are meant to take in all of that, and that is your home. And, in this place, this place being a place in manifestation, in that is the power, represented by horses, for you to find the completeness and the wholeness. You’re doing this, not the masculine. You’re doing this because this is your role, this is your responsibility, this is what you have taken on.

Now, this is the nature of how the feminine principle is evolved in life, in that it is taking on roles and responsibilities. And as soon as it has taken them on, it can’t just throw them off. It can’t just go and say, Okay, I’m done with that. I’m not going to take that on anymore. It can’t. And so it has to kind of see it through. In other words, this is a higher octave of this kind of dreaming.

If you’re taking on a certain quality of how you’ll be in an orientation that is receptive to a type of atmosphere, called the university atmosphere, once you have put your attention in that, you have to take on that whole thing. Once you decide that the way to travel, or to go, is in such in such a way- in terms of a home and such – you can’t then ignore that as a calling, or a responsibility.

Now some could call this dharma; some could call it karma. But the general way of looking at this is to realize that wherever you place your attention, you now have invoked a responsibility. Now, if you don’t place your attention out into many things, only into a few things, even then whatever that might be, your responsibility is engaged. Wherever you look, you have a responsibility. It’s just the nature of the human being, because a human being is a Crown of Creation in which, how they see things, what they see, how the world is as an effect upon a sense of themselves. And they have a sense that is as big as the universe.

Wherever that gets directed, that then becomes something that you have to contend with. For example, you have the responsibility, in your dream, over the university atmosphere. You have the responsibility, in your dream, over the place where we stay. You have the responsibility in that place, where you stay, to catch up with the power of that place. That’s the quality of the feminine principle in manifestation.

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Inside Step

tha00Everything we see in the universe is constantly trying to improve, and to refine, according to its design possibility. For example, a bird will keep trying to build a better nest, adapting to environmental circumstances. And a neuron will always try to respond more quickly, firing off faster than the last time. Incrementally, everything refines in this way. The human also plays a role in the refinement of the universe, by trying to energetically improve what it comes in contact with (this service is a choice for the human). In return for this service, the universe refines the human individually, and, over time, the species. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, I feel like, again, I had a long dream with parts of it repeating. This time I was able to pull out just the end of it. And at the end of this dream, I seem to be studying this little pattern in the ground. And it’s a pattern formed by some bones. And it’s like if I can solve this pattern, I can solve a crime.

And the bones are associated also with a horse that I ride, it’s this big dapple gray horse. As I come back and forth on this ranch, and I kept studying the pattern, it’s like nobody can really figure out what the pattern of this bone means. So it feels like the crime is going to go unsolved.

And then one time I come back and my horse isn’t there, and then people come riding into the ranch on the horses. And the foreman of the ranch had given my horse to this other woman to ride, and I’m just furious because, for one thing, they’ve overridden the horse. For another thing, other people really aren’t supposed to ride that horse, let alone not treat it well. And I recognize the foreman’s up to something.

Not that you can prove anything, but I get so mad I tell them that if that ever happens again, I’ll not only take my horse, also my third to the ranch to some outside interest, I’m just really furious. And I’ve taken the horse aside to groom him because it’s been overworked.

And then I’m studying the pattern of those bones on the ground again, trying to figure them out. It’s like I think the horse has some clue to them, but of course the horse can’t talk. And now it feels like I’m up against the foreman of the ranch, in some ways, but I’m still trying to figure out what happened. Anyway, I get so frustrated, I wake up.

John: So what you’re talking about, the theme of the dreaming, is what enables one to understand what this means. And the theme of the dreaming has to do with a process that works with mirroring the stillness.

In other words, you don’t just go into a stillness and leave everything behind. You go into a stillness for purposes of creating a mirroring in the outer. That’s how you bring the stillness back into the outer. In other words, you don’t take and get engaged in some bifurcation or another in the outer, as something that is real. You don’t go deviating into that and trying to make something out of it – unless you’re capable of using yourself as an example to create the mirroring to something more.

That’s why I believe that a lot of conduct that a teacher does is about where they take and they act this way and they act that way, none of it is done in a seriousness where they’re bifurcated and actually vested in that sort of thing. Just like when you look at it this way, when you’re looking at things like this, can you pull that out? Or are you to buy into it?

So if you have students who are all caught in their own things, and they’re going back and forth with their own things, and you’re trying to get them to see that there’s something more by all these different practices that you have, that enable them to kind of let go of that and inflect back to the stillness, the fact that you see them caught up in this and caught up in that, one of the ways in which to help the student is to be able to take on whatever it is as their deviations, to absorb the deviations, so to speak, to free them up so that they can experience the stillness.

That’s a step in the path. Now if you don’t know how to do that particular step on the path where you can actually take on an individual’s karma, so to speak, where you can take it into yourself and then feed it back to them, if you’re not able to do that, then there is another way. And that way is where you take and you create a side schematic and you go and you play act in that side schematic in full drama way, as if that’s important. And you have to sell that lock, stock, and barrel as a parallel, as a tandem, to what the student is actually doing in all of their bifurcated ways. You have to sell this bifurcated way that is something that is like a good intent portentiousness from the teacher. You have to sell it in such a way so that it really does look like that’s what it is.

But you, as the teacher, hold a space of stillness, so that as this other occurs, the student catches up with the stillness and not the abstraction. If they catch up with the abstraction and get all lost and mired in that, then what can be done? I mean, they were getting lost and mired in their own bifurcations, anyway, and this is a manufactured bifurcation, a Layla sort of thing, that is there for them to progress.

The reason why I say this is, this is what you did in your dream. So what you did is you had a horse, which meant that you took and you rode an action of power in and over a schematic in the outer. And, in doing so, you observed, you looked down upon the way the bones of things were laid out. You didn’t necessarily buy into the bones of things, you just looked at the bones.

And what made you mad was, instead of getting it, they tried to jump the power point that had to do with the ability that you had to take, and show, and reveal, and cause them to look at the bones of things. In other words, one of the steps in the path, or a big step in the path, is to get into the stillness. And you get into the stillness by catching up with the full kundalini energy. And you get into the full kundalini energy on the other side, as well as on this side.

And when you have the full kundalini energy taken in to yourself, you then are able to go out in the midst of the bones, the bones in this case are the symbolic that represents the way everything is all this way and that way. And how it is that you move about in relationship to that is as a type of mirroring, that what feeds back from that is what others can come to recognize in terms of catching up and taking a step inside of themselves; important motion, or movement, inside of themselves that brings them forward.

So, the misuse of kundalini energy, of which one-third is on this side and two-thirds are on the other side, is when a person takes and gets caught up in things in the outer. If a person takes and gets caught up with things in the outer, and fails to see what that mirrors, that the outer is a mirroring to a stillness that’s within, to where the kundalini energy is in this whole different modality, and in the outer it is askew and astir. If a person is not able to recognize that and instead has to buy into the power, which means ride the horse, your threat is, okay, then to hell with you – because that isn’t what the outer is about.

See what you’re dreaming also is a schematic, is that you’re traveling in the principle of what’s called “in God,” so that what reflects out of you, in terms of the things that you may see yourself doing, you are just doing those things, you’re not doing those things from the standpoint that you buy into them, lock, stock, and barrel, and, therefore, have to go backwards inside of yourself to free yourself up, meaning that you have to step away from those things, and use those things symbolically to understand that there’s a depth of stillness behind all of this. That the understanding of a dream, and of those actions, per se, has to do with going backwards into the stillness.

Now, this is a dream, which is saying that the actions and the conduct that you’re doing is just abstractive. It’s not something that you are caught up in; you are able to ride the power wave of the kundalini energy, in the outer, in front of all the bones of things. And anyone who understands who you really are is to see the stillness, in that, that you mirror. You’re doing it for purposes of mirroring, reflectively mirroring. You catch up with the stillness and then you bring it back into life by going into things, whatever you go into in the outer, but you go into them not because it’s something that have to do, or need to do, or caught up in having to do, you go into them because you just happen to go into them. And, as you go into them, you are in a whole other space and depth inside of yourself.

So you mirror from whatever it is that you go into – something of a divine letting go, something of the stillness – for those who are ready to see this in a revelational way. If they don’t see it in a revelational way, and they instead seem to look at what you’re doing and seem to think that they need to get even more caught up in that, then they’re violating, then they’re misusing that magnetic one-third of the kundalini energy that’s in life.

And so, your point is, if that’s all that a person is capable of doing, if no one’s able to get the inner hint to the stillness, then you’re going to sell the darn place, which is a way of saying you’re going to leave Dodge. You’re going to go away from manifestation. Now you’re never really going to do this. Instead, you are going to be doing whatever you’re doing in the outer, and for those who can see they can see, for those that can’t see, then something gets lost. In other words, the whole principle of manifestation is for God to be able to see and hear Himself.

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