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Archive for the ‘Snakes’ Category

ReachingWell, there it’s been said: we humans spend our lives trying to create our own narrow band of reality, one that collects all the bits that we enjoy and value, and that deletes or suppresses all that we would rather not deal with or be part of. Would it surprise any of us to realize it (the universe) doesn’t really work that way? To become part of it is to embrace all of it, without see-sawing emotionally. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Then I have a dream, I’m not sure of the sequence of the next two dreams, but I think I have a dream in which I go into this building and there are some people in it that seem Middle Eastern.

Even though it’s inside a building I go into a room and what I have to do is to relate to animals. The first thing is one of the men has a really large horse that is kind of resting. You know, it’s not like standing up, it’s resting on the floor, and I have to go over and make friends with the horse. It doesn’t have a bridle on it, or anything. I go over and the horse almost has to show me how to relate to it before it stands up and everything.

And then I go over to the other side of the room and the people there have these snakes that are wound all around their bodies, and I have to let those snakes kind of come and crawl over me – and I don’t like that much. There must be six of them or so, you know like wrap around your neck and in your hair.

I really don’t like the experience, and one snake goes to bite a fly so I almost wonder if it kind of bit me, too, and so I don’t tolerate that quite as well, but it seems to be like something that I have to do.

John: The theme is to look at both sides of equations. And so when your consciousness develops you have to be able to look at the other side of the equation as well, and bring the harmony into the other side of the equation at the same time – even if it’s something that is radically different than, let’s say, the psyche of your nature. You still have to be able to see the harmony and the disharmony.

That’s kind of in keeping more with my dream than your dream, but the process is the same in that your first dream you had to look at the two options so that you don’t get black-and-white and locked into one, and get caught in something that throws an imbalance. You have to look at how both sides feel. And, in this dream, the step that is taken is that it is now pushed forward into a greater unfolding consciousness.

In other words, with the horse you’re catching up with power, and then when you catch up with power that invokes and brings in other things that normally you wouldn’t have to contend with, which is the kundalini energy, the snakes and all of that sort of stuff that crawl around and whatnot. And you now have to contend with that.

But if you didn’t bring in the power, you wouldn’t be bringing in the kundalini energy, which is an aspect of the power that causes something more to open up in relationship to what is going on in terms of how you’re unfolding. You have to unfold with both parts, and although you might want to relate to something being, say, more power, but then that comes with the territory of this other that can throw you around a bit, which is the kundalini energy.

So, in one sense then, what this dream is doing is it’s again showing degrees to going up involves the same degree of having to go down – and you have to be willing to tackle each. You can’t just segregate out, and pinpoint out, what it is that you feel, and design, and choose because if you do that then you distort yourself, and you don’t really properly let go into a wholeness, and an overallness, in which everything has to be left empty, and open, and free.

And in order to do that in life, you have to do that with yourself, and you have to do that with your consciousness as it opens up as well. You have to know how to, in other words, take in all of the components that come with the territory of however it is that you are unfolding. It’s not a cherry-picked game, you know, a wholeness involves… the word wholeness a kind of an overallness, a totality, an intertwining. And this is why there are such problems in the world is that people, left to their own cognition, they can steer their lives to where they get just what they think that they want streamlined to unfold, and then they reject whatever else there is going on – as if that somehow or another is extraneous.

The problem that comes up is that as you open up certain things come up in terms of your synaptic nature and such that may not have been in the equation of your life before. They come up automatically, and you just can’t rudely annihilate that sort of thing. So much involves a polarity, and that’s why the word grounding is so important. And an aspect of the grounding is to have to contend with all of the other kinds of variables that just naturally come through, or crop up, or enter into your way of being when you take a certain kind of step forward. It’s in both directions, so to speak.

And when you’re really talking both directions, this is actually a subject of inner and outer, too. It’s just like in the process of the breath: you can’t have just an in-breath going home, so to speak, and not have an out-breath coming back down. The equations of the breath, the in-breath and the out-breath, they are balanced in terms of each other, which is another way of saying that it all shows up in the breath, but it’s another way of saying that what unfolds is a steady pulling together of inner and outer into one.

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Eve-and-the-Snake-Here is another dream image that touches on fundamental issues of life and human purpose. Just as Eve encountered a snake in the Garden of Eden, here Jeane confronts her own snake as she tries to climb, or elevate, her way to another level. The masculine has gone on ahead, yet she is seen struggling with the distraction of the snake as it creates a barrier to her getting to where she is headed. In simple terms, there is always something that crops up as the next barrier on our development journey; we just need to become conscious of it to take away its power over us.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my main dream last night I’m in an area with some other people, at least three of them, and we’re having to climb somewhere, but we’re climbing more through a tree and rocks that are covered with greenery. I mean it’s just really lush and green where we’re climbing.

We’re trying to get to somewhere and the two people that have gone on ahead of me we reach this point where they go out on one limb and then they climb up the limb to where it almost gets thin. And I lose sight of them for a moment because I’ve been distracted by this snake. The snake is about four feet long and it’s kind of dark with maybe some pink stripes in it.

I think about it as a garter snake because that’s how I can tolerate it, but of course it’s actually a lot larger than that. And it seems to kind of get in around my feet, or around where I am, so it’s like I almost can’t help stepping on it. It even opens its mouth and shows me its fangs now and then. I’m trying to kind of move it out of the way, which distracts me for a few minutes.

So then I look up and they’ve disappeared into the boughs of this branch, which is a fairly thin branch, so I think that in order to keep climbing what I have to do is climb up this thin branch, that’s very thickly covered with leaves, and then it will bend and deposit me maybe on the other side of this leafy rock wall.

And that’s the best I can figure out of what they’re doing because it doesn’t make sense to me to try to get somewhere this way and, because it’s kind of distracting, kind of moving the snake around and making sure I’m not stepping on him and I’m just trying to kind of disengage from the snake a bit. And then it feels like I do climb up and I’m on the other side of the rock wall, but it’s really slippery and a long way down.

It’s just kind of this very complicated climbing because everything is so covered with greenery, but I do manage to get to where we’re going. There’s a whole group of us going there. Then I kind of lost the dream with what happened when we’re there.

John: You didn’t lose the dream. There really wasn’t the need for anything more because what you were doing was describing what the feminine goes through, in terms of overcoming barriers, in terms of how she opens up, or is oriented, to the inner principle that permeates all of life, that is found in creation.

It’s all here. It’s just you deal with the nuances and mannerisms and peculiarities that get in your way, in terms of the outer peculiarities inside of yourself, that are repressed inside of yourself. In other words, the outer peculiarities that are the result of what is repressed inside of yourself that, if you can set aside, you will find that what is taking place is cope-able and that there is a flow to it that you can naturally connect with.

The characteristics of things that get in the way for the feminine are all seen as being more oriented to kind of hidden phenomena that’s more imbedded as barriers within the process of proceeding. In other words, your orientation is that you are moving, climbing, or in other words proceeding, but have to contend with the elements of obstruction, of doubt. The snake is a type of power even.

The snake depicts what typically gets in the way of just flowing naturally in creation, with creation being whole and complete as is. It isn’t able to quite be whole and complete as is when you have issues yet that you need to contend with. And the easiest way for the feminine to see those issues, I should say a more common way that the feminine sees such issues, is to see them as barriers that have like a snake-like quality to them.

And the image of a snake is an image that has to do with kind of a kundalini effect that you have to supersede or go beyond in order to open up what is there, consciously, in terms of the outer.

It’s an entirely different way of approaching life than the way the same thing is inclined to be described by the masculine. The kundalini energy is like the barriers, or the mannerisms, or the doingness that is involved in the outer that presides in the way of catching up with something that is naturally there at a greater depth. And that there can be the tendency of having one’s attention distracted, as the dream depicts the snake-like effect, which needs to be overcome.

And the overcoming of that is to come into your full power because the snake is closely aligned with this kundalini energy, this serpentine effect that harbors the nuances and the mannerisms that tend to peculiarize the journey.

The feminine has images like this. This is rare for the masculine to have the image of the same kind of journey portrayed in that manner because the masculine tends to work more so with spirit energy. And so the image that works best, in terms of consciousness like that, is the fish. The masculine is inclined to use the fish images. The feminine is inclined to use the serpentine, the snake images.

The reason why the masculine is inclined to use the fish images is because of the nature of spirit energy is something that has to be gauged in terms of how you pull it through, the consciousness that is, how close you are able to come to it and still be able to handle it, or not disturb it. How you work that in relationship to bringing that in and then extending from that, in other words, still being able to be grounded.

So this is more of the way the masculine struggles as it is making the journey to become more conscious. The feminine has more to do with the reactivities and things like that that have this whole snake-like phenomenon that can be very terrorizing and destabilizing to a cadence and even flow.

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sailingEvery once in a while, after nights of dreams that almost make a connection, or that struggle with an idea, there comes a dream where everything comes together. Just like in waking life, there are times when we are more connected to the flow of life and, therefore, face less resistance in what we are trying to do. That’s the type of dream Jeane has here. But whether it’s in a dream or in waking life, that in-the-flow connection comes when we are acting on behalf of something greater than ourselves. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: What feels like to me a repeat dream, it’s even a repeat dream in the dream, it feels like you and I’ve been on an assignment with a number of other people. And one of the parts of the assignment is when we got to a certain place, which happened to be my maternal grandmother’s house, that we would put on a certain skit and everyone would come up with a different skit that they put on.

Well, in the original dream, you and I had arrived there alone at night and none of the others were there, and we had come up with this great skit – because I never really knew that you could kind of dance and sing. And I even had this big wig I put on and we had gotten these animals to participate – including this really large poisonous snake.

It had gone really well, but we had done the whole skit without anyone else there. We just knew that was going to be part of our assignment. That was the dream I’d had before, and then I have it again.

In the dream, this time, we arrive at my grandmother’s house, but the whole group is there, and then they tell us we have to do our skit. I hadn’t known we’d have to repeat it again, but of course none of them were there when we did it, and so I’m a little off base because I don’t know what will happen as far as getting the animals there or anything. But, sure enough, the big, large, poisonous, pink, female snake shows up.

And then it’s like I look at the ground and I just do something with focus and waving my hands and suddenly all of the – it’s almost like the ground kind of opens up – and all the other little critters appear. So that’ll be part of it.

And I send you off to find your notebook because you had written down the lyrics to the song, which I didn’t remember. And I go off into an inner space, going through various rooms looking for a place to change into the outfit and the wig that I wore. I have some trouble finding a place to change because the rooms we’d used before have changed into a stable, and there’s even a saddled horse there, and another one’s a restaurant with people there now. But I finally come back.

I seem to have gotten whatever changes I needed to make happen so that we go on to sing. And I go right up to the poisonous snake and it actually has a feminine aspect to her and she is huge. I mean, like she has a face almost as big as a human’s, big python type, all pink, and I actually do some things where I’m scratching her face and getting ready for the performance to sing to her. And somebody else is commenting that they had really kind of slacked off on what they were doing for their skit, but it felt like we kind of went all out.

You do the singing in the skit for the most part. I just have to get your notebook for a few lines. I guess that’s the main dream.

John: That’s a dream that takes you completely outside of the world of the outer, and into a world so connected to the inner that the reflections that occur in the outer are no longer reflections, per se, as if they’re estranged, or disconcerted, or separate from the inner.

In the first dream that had to do with you trying to figure out where you needed to be and how you needed to be, that dream had a bewilderment and awkwardness to it in that you were still trying to catch up with the ability to grasp, or follow, the thread to a knowingness of how it is that you are, or are meant to be.

In the second dream, you found it. You know that the energy comes through, and awakens, and quickens, and makes everything alive. Only it’s a connectiveness to the innerness, so that the aliveness in the outer is not some sort of dead reflection, it’s a direct correlation.

In other words, it becomes a symbolic way, or a meaningful way, of directly creating the inner. In other words, this is a dream that has this whole creative quality to it, and it indicates the role of the masculine as an aspect because the feminine should have a completeness and a wholeness and know how to dance, and the masculine is going to be awkward that way because it does not know how to catch up with the reflections, from which it is able to reach a knowingness or a hearingness. In other words, bring that through almost as if it speaks it into an aliveness in the outer.

The power of the dream is this whole beginning part. In other words, as you’re sitting and trying to understand that, what has occurred there, you’re lowering the energy because you were just living it and going through with it naturally, without any forethought or mannerism at all – a lot different than the awkwardness of the focus and attention in the first dream to try to be where you needed to be, or to follow the thread of however it is that you’re directed to be in that regard.

And there’s a certain tension in that because you haven’t yet pulled through the inner in its all-encompassing way, and you somehow know when you’re like that that to properly live or relieve yourself, you have to catch up with that as a responsibility.

In the second dream, it’s suddenly there and it has a whole magical element to it in that what it is that you experience turns out to be what manifests around you.

Jeane: The only part of that dream that I forgot is at the end I go over and I look down a level, where some stairs are, and you’ve gone down there with some guys, and you’re apparently moving and so you’re carrying your moving boxes.

I’m considering whether I should go down and help you move in, but I’m pausing because I don’t necessarily want to carry the same kind of weight boxes the guys carry, so I’m thinking that maybe if I got handed the clothing boxes or something I could carry those in and help you unpack.

But I’m just pausing and deliberating on all of it because so far you’ve got guys carrying the boxes for you.

John: That’s still devolving as if it’s something that you still have to contend with or something, because in the first part of the dream it was all working in cohesion, the awareness that was an aliveness that then corresponded to things that were automatically there as if created through the inner energetic. That was all there in the initial first part of the dream.

It’s almost like you just nonchalantly described what it’s like to bring inner into outer, and what that can be like, in just kind of a, plop there she be, kind of way. And the other part of the dream has you kind of somehow or another trying to reconcile all of that, and it doesn’t work that way. You can’t reconcile it.

You’re too much in the essence, and its aliveness that comes through is created through the presence of that essence in as an absolute a way as you’re able to do it. It has a slight flicker in there where you recognize an aspect of the masculine, in other words that can sing the song, or make the note or something like that.

But, other than that, it would just be one seamless flow, and it still is a seamless flow, you just throw that in to make sure that one recognizes how it works in terms of your having caught up with your fullness of being.

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