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Posts Tagged ‘balancing the physical world with the spiritual life’

M.C.-EscherJohn’s second dream of the night (see The Cumulative Effect), continues the exploration of what it means for the masculine and feminine to come together to find a merged state. It is only through such merging that the energies that effect change can come through.  (At the end of this post there are instructions and a link to download this recording to your computer.)

John: In the second dream, it’s very short. There was a lot of deep meaning, if I’d have pulled it out, but I didn’t.

But what I saw as the winning object has moved. There’s a problem bringing it back onto the pedestal. It’s almost as if something starts to float off the ground, and so then a lot of attention can be done where it can be put onto a temporary pedestal, but it’s not really situated or locked in. It can tip off of it, or it can move off of it so you can’t really use this as a solid piece.

So that’s the image of how things are, meaning it’s not safe to do things when there is this imbalance, which the importance of this is to show that there is a problem in the earlier dream. In that what you have to also keep track of is timing and speed.

In other words, it’s a time when something is revealable, and then that also increases the magnetic energetic speed. When you get the timing and the speed down, it’s a masculine trait here. It’s working with a masculine principle.

The feminine is not going to be able to accept the changes, and the timing, and the speed, if it isn’t surrendered and merged, because that’s what’s at hand now, is things that address the timing and the speed.

Now, the key is, it can’t do it directly. It has to do it indirectly. You can’t just take and go out and make this known in a feminine world, which is lost or confused, because the feminine world will get all excited or something about the timing and speed as the new schematic or something, and the next thing you know what can be accomplished in this regard gets lost because of the despair of the feminine’s perspective when it doesn’t merge with the vibratory state that takes it outside of all of its means of trying to grasp.

The feminine nature actually has, in a way, a better lower-mind nature than the masculine because it’s more grounded. And then the masculine makes up for the gap because it can have the insight more easily, by catching the spirit energy that is etheric and not embedded and trapped. He [the masculine] can catch this easier than the feminine can, so that’s how it is able, then, to bring in the sense of the higher mind.

So from the standpoint of the lower mind, because the feminine is more rooted naturally in creation, it’s more ambidextrous. It multitasks better and stuff like that. The masculine that is deficient, to some degree in this regard, can bring something down and through with a lot of focus and attention, but it tends to be linear.

What has to happen here is one has to recognize the limitation of both of those actions, where the feminine no longer just depends on the masculine inflection but merges somewhere else, jumps outside of its orientation of just being a soul with a feminine orientation, and the masculine has to jump outside of its orientation of just something that brings through the seed of something that equates change.

It has to merge with something else, so that it sits in awe and bewilderment, by what can take place that can’t be ordinarily taken into account. He would like to take the credit that it figured this out, but the shifts, the changes, that come through, how did that happen? You didn’t necessarily dream it even. It’s just there. It’s another octave peeking through.
So nothing is possible as long as there is a disjointure that has things out of balance. And so we’re talking two types of disjointure. There’s the disjointure between the masculine and the feminine, and then there’s the disjointure when you don’t let go of that and reach beyond that. So finding the right cadence within enables things to happen again.

From an outer perspective, this can look magical because the prevailing assumption is that the imbalance dictates. In other words, whatever it is that it’s able to see, somehow or another has it caught in a Rubik’s Cube, and it doesn’t know how to surrender and let go to something more, because it’s not that. It’s somewhere else. It’s not that, and if it stays in this other, then it’s blurred or blocked from being able to see that something is so much more.

 

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Today’s dreams are a continuation from the same night of images explored yesterday (see Clearing Things Up). Here, we see the dilemma deepen, as the masculine and feminine energies seek to come together, but are faced with certain limitations. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In this image I get on an elevator with a man who’s, I guess, in charge of something, and I complain to him about the people in my last dream, that the problem was, although they were seminar leaders, she had a drinking problem she was denying, and he tended to abuse his power by sleeping around. And I object to that.

Then he seems to disappear from the elevator, and the elevator stops. And I know I’m just on a brief break – I have to go back in just a few minutes. I take a step out and, lo and behold, there’s a bush with a bird in it.

I step out of the elevator, outside, and there’s this bush in front of me, and there’s a bird on it. It’s kind of an interesting bird, like a small falcon or something – brownish red feathers and everything – but it’s doing something where it looks bigger than it is, and then it flies towards me.

It kind of seems to land on the wall. It still looks to me like it’s more spread out on the wall than you’d think it would be, and then, when it drops down to the ground, I see it’s actually two birds.

I don’t know if one bird was fighting with the other, or if they were mating, or what they were doing. I can’t figure it out.

John: So how did it start?

Jeane: It started with me getting on the elevator with someone in charge, and complaining about the other two people in my last dream.

John: Oh. So what you’re doing is you’re sorting out what’s keeping something from coming together, and you’re sorting it out as vibratory changes of something different in the energetic. The drunkenness quality, she had a problem with drinking, which is a way of symbolically meaning that she’s indulging or preening in life, and getting a little too carried away about things – and therefore not catching up with something, not seeing what she needs to see.

And he has a habit of taking things for granted, like sleeping around, which means a little too cavalier in the freedom sense of things – not necessarily responsible. The drinking problem is like a doingness, and the sleeping around is like an aloofness, and these are actually qualities of limitation of masculine and feminine.

The feminine can have a doingness that can be interesting and enamoring. You know, loves the sunsets, loves all this sort of thing, and that’s a type of delirium, or type of drunkenness, in its own way. There’s something very fascinating about it, but also it can be a type of drunkenness that has a closeness to it.

And the sleeping around has a distance, has an aloofness, has a lightness, and is more irresponsible, which tends to be a quality of the masculine. That’s what’s the problem in terms this coming together, something coming together to be able to fly, because it evolves into the image of what, two birds?

Jeane: Uh huh.

John: And they’re dying?

Jeane: No, they’re on a bush and I can’t tell. At first I think it’s one bird. I can’t tell what he’s doing. I just think he’s flying towards me but he seems bigger than he is, but then when he’s on the wall fluttering around and falls to the floor I realize there are two birds. But I don’t know if they were mating or fighting, or if one bird was kind of trying to protect the other. I mean, I can’t tell what they were doing.

John: Are you sure there were two birds even?

Jeane: Yeah. I couldn’t tell it until they fell to the floor, because one bird was covering the other.

John: But other than that they were one bird, and so when they come crashing down they’re two birds. But they can be one bird and you saw them as two birds. When they come crashing down there was something the matter then.

Jeane: No, I saw them as one bird, but then they got closer and then I saw them as two.

John: When they got closer you saw them as two. It’s a perception thing. I think it has to come together. They fall to the floor as two, but they look alright as one, right?

Jeane: Well, I couldn’t tell for sure.

John: When you got closer when you tried to examine it they’re two. So the drinking problem and the sleeping around, they’ve got to come together somehow or otherwise they fall to the floor.

You’re asking two things like that to happen, and they don’t make sense how that happens. That’s what’s wrong in the other aspect of your dream. You’re trying to whirl and do this, that, or the other, and you have these two energetics that are off.

One is sleeping around, and the other is a drunkenness, and the drunkenness is the delirium in creation, and the sleeping around is the aloofness. The drunkenness can be a kind of intimacy and beauty, and the sleeping around is an awe, it’s an aloofness, and yet they come together. That’s what’s wrong.

Well, I saw it differently than that. Not differently, but in a different symbolic way of seeing it.

And then all of a sudden I see this star, this flash blue light, and suddenly there’s communicated through this flash of blue light like a voice, and it’s like a voice of a higher self.

And it again says something that almost sounds like an opposite; portraying it opposite to how I would be inclined to look at it. The voice says, “You have a fear of losing.” I have a fear of gaining. That’s all there was and so you sit and you ponder that.

You have a drunkenness and sleeping around quality dilemma. It’s interesting. That’s the dilemma by which you pull the masculine into yourself. That’s why you have all these dreams and images: You go through kind of a sleeping around energetic weirdness, in the masculine, that’s an aloofness that you see in that way as if that has a freedom. It doesn’t of course.

A drunkenness is a closeness that’s like trying to find a freedom, but it sits in an amnesia. A fear of losing is trying to keep something going, keep pulling something through. In fear of gaining, his barrier is to keep something from happening. Very strange thing.

Both of those are telling about something that is a dilemma, in terms of trying to sort out this. That has to make sense somehow for it to happen, because it doesn’t quite make sense, it sits as a dilemma.

How do you reconcile a fear of losing and a fear of gaining and have something okay? How do you reconcile a drunkenness with the sleeping around? Wow. The masculine element sleeping around is too aloof, and it has a certain waywardness about it, and the feminine quality has a certain amnesia, and therefore it can’t pull something, it can’t see the signs, because it’s in creation, because it’s amnesic, and it’s drunken.

And like that the bird crashes down – it’s two birds – crashes down, when it objectively looked like it was one bird, but it’s really two birds crashing down because of that condition.

And I have two principles warring against each other to a quality of losing and a quality of gaining, going back and forth, keeping a delusion up. And then they’re broken apart. How they come together is a whole other question. They come out of the blue light like that.

So we’ve got a new adventure we’re figuring out. I didn’t get much rest on the last one. How this other suddenly started to make sense, and now we’re kind of in a new predicament.

 
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Quite often, John’s dreams will echo the themes of Jeane’s dreams from the same night (and vice versa). Yesterday, through Jeane’s dreams, the issues that need to be overcome in connecting to the flow are revealed from the feminine perspective (see Designing from the Interior). Here we see the aspect of “designing,” or being integrated with a flow from inner into outer, from the masculine perspective. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: It’s an interesting theme. It’s amazing. I had a hard time getting this dream because… you know, getting the theme of the dreaming, because it was a very, very simple subject matter that one’s ignoring. One should see this straightaway, but I apparently have not been noticing it straightaway and, as a consequence, can have dreams that go around and around and as long as you keep missing this one little key point, you just go in circles.

I know that I was in kind of a nice, deep state in my meditation and when I came out of that I had a dream, but then it went poof and I couldn’t remember anything. And then when I came to bed, suddenly as I’m starting to dream, the way I dream reflects back on something that occurred when I came out of the meditation.

In the meditation dream all that I remember about it is that there is something about the way that I’m wrapping myself, how I’m attiring myself, that is shutting my perceptions down. And so what is going on is the net effect is keeping me out of touch with how I need to feel in a more composed way. In other words, I’m overly constrained with my being.

In the sleep I drive out to an area where there’s a fairgrounds. In other words, it’s kind of at the end of a road where you and I have driven and all of a sudden the highway ends and the fairgrounds is there and there’s a dirt road that suddenly goes through the fairgrounds. And this dirt road meanders up and over a hill and continues to go in the direction that we need to go.

And you say, “That is the way we need to go.” And I remember from long, long ago that we took this road once upon a time – I barely remember this – and it got us there, but it took forever. It was a big mistake – this is not the way to travel. It’s a lot longer than it appears. From that experience I know that there has to be a better way to get to where we need to go.

The meaning of this is that there is a gap between my natural feminine knowingness, and its instincts, and my sight. In other words, there’s a cohesion break where they’re not working together like they should.

From my meditation dream I learned that the way I’m indulging is limiting the scope of my natural sight, and so when the sight is inhibited, what follows is also off because the feminine needs the clarity and vibrancy of the masculine sight to maintain her bearings in life. If this part of myself is repressed, I make decisions that drag the unfoldment process out. I am meant and need to be in touch with a more expedient sense of awareness and flow.

The deeper meaning is to know that I have a problem with my seeing and instinctual insight, the instinctual insight being a feminine area, is brought to my attention so that I can see that I have to pull this together. I’m realizing that I’ve gotten disjointed and, when like this, I am carrying myself off, way off, away from this natural connection and design flow. The design is in the flow. And there is a natural flow when the masculine and feminine work together as a Oneness.

Then I have this long dream that kind of like shows how the biggest problem that I have that breaks this flow up over and over and over again, and in a sense that’s what your third dream did. Your third dream was showing you what you do that breaks your connection.

In other words, you can get into the place and, of course, you’ve already seen yourself that in that place it does more than shape, but it knows how to change and move energies around and fix things without having to address the complexity of a scenario because that only creates conflict and doesn’t get anything done.

You can change it by just finessing the energy into a greater opening up, which in this dream in which the theme of last night what’s being pointed out is this is what’s known as the design flow. And you indicated that what you have as a limitation to all of this is that there’s a certain imbalance in terms of a distrust of the masculine in terms of what it sees. It’s spying on you or it somehow or another is violating you in this space of an instinctual flow. That was your way of reporting what the greatest issue is yet for you to be able to function in a design flow way.

And in my dream I report my greatest problem or issue and the way it starts off is I go over to where you’re at and I tell you about what we need to do for tomorrow and D is with me and D and I had already discussed about how we needed to get together and that there were four other people that needed to be invited.

And this is not something you would know because the most that you’d have guessed is it would be D and myself and you, but then there are these four others that D has explained to me why it’s important that they be there.

As I go over there you are all speeded up so I’m not able to get a word in edgewise to say what needs to be said and so eventually D starts to walk away and I realize that the connective flow isn’t happening.

In other words, we’re not getting what needs to be done put into a sequence or flow or a cohesion, and thus a problem remains. My idea of how to communicate under the situation – I don’t know how to do it any other way other than to blow up.

I stop what is happening and say, “You need to hear this. Tomorrow there are four other guests who will be at the dinner.” And as this is communicated D starts to walk away because he senses that anything else that I’m about to say is completely a waste of time. This is not productive.

In fact, it tears something down because I blow up and I say that, “Today was a disaster. There was no flow. Everything’s disjointed. We can’t be like that.” Of course, D walks away because again it has nothing to do with the flow and doesn’t like the way I am when he realizes that what needed to be said was done, it’s time to move on.

So when I get reactive I notice that in my reactivity I was even shorting out, in other words, the connective flow and communication was because it created a shock to things was shorting out, which means that the scenario is suddenly destructive.

I walk away and in my blindsidedness state, as I go outside, I find myself not paying attention and I’m stepping and walking on newly sprouted and recently planted grass. You can’t do that to new grass. You have to stay off of it so it can get rooted.

The meaning is the theme is about shaping and designing the outer by being in a connective flow. I fail to do that when I get reactive and short out the connection that is needed. This is an indulgence and defense mechanism that wounds the flow and keeps what is fresh and new from maturing.

But then I realize that I was not supposed to just leave it at that. I’m supposed to also report how this affects the macro. In a macro context this kind of behavior is what creates war and the breakdown of society. Power is to never be misused in this way, and of course this is a masculine issue. And I realize this through little glimpses of images where I saw horses, which represent or symbolize power, and then after seeing the horses then I saw the headlines – “War” – and then I got it.

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