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Posts Tagged ‘chakras’

Jeane: I wish I could remember more of the details of this next dream. Like the last dream (see Crime and Punishment), this one also feels like I’m living in a different era.

It’s morning and I’m going over some dreams with you when there’s an interruption. You have to go somewhere. I get up and go outside where there’s a barn-like area with a group of women present. The women are sharing dreams, so I’m telling them the dream that I never had a chance to tell you from that morning.

Then you come walking by… I know the dream (within the dream) involves a strawberry. That’s all I can remember. I do know that you come walking by and you start to give me an interpretation, but I have to block you out a bit because you don’t realize that I’m telling a dream that you haven’t heard yet. 

Next I go into a room and you are there. I’m holding up something that looks like a little wooden slat with eight holes in it. The slat has a firm back, and crayons and a ballpoint pen have been placed in the holes.

I’m pointing it out to you, with a certain amount of happiness; it’s something one of our children has done. We have one child who apparently has a disability and sometimes all the focus and attention is on him. In this instance though, I’m really excited to show you something one of the other kids has done – just this wonderful, normal act of putting the pen in the slot, something the child has been able to do for the first time.

It’s just normal stuff and it feels great. That’s what I’m reporting to you.

John: To begin with, the thing to notice is that you’re carrying something (represented by both the dream within the dream and the slat) from the inner that’s able to come out and be reflected or reported in the outer (first to the group of women and then to me). It comes from a place that can’t be noted in terms of a flow. It comes from a deeper level, where it has been frozen, or locked.

I start interpreting dreams first in terms of flow, knowing that everything goes back further than that. In this instance, you know that what you’re carrying needs to come out in terms of the group, in terms of the whole.

So, that part is similar to your previous dream, in which there’s a setness – something is frozen – that has a sight inside of it in terms of the way you’re able to feel it begin to move, or begin to transcend its previous state. In other words, where it has been there is no flow, and therefore no time.

You get a sense of it having been frozen, and from a time standpoint it’s probably been so for a long, long time. Then when it becomes a motion, that’s when its aliveness can come out. It can be seen and understood better when it is in a state of fluidity. That is shown when you begin to describe what the child has done.

Jeane: Yes, I’m just pointing out something ordinary that is wonderful, like when a child takes its first step, and how excited one gets.

John: Well, that’s interesting because that’s a type of connection with the heart that goes into the simple. I tend to disregard that sort of thing, which makes me a little bit cool and aloof. But you’re able to take something that has been set in motion, that doesn’t know its way very well, and you’re actually able to see something about it that is coming out – that’s emerging, that’s showing potential, that’s unfolding. And you see and feel that as an incredible thing.

It’s very grounded and nurturing to be able to do that. I don’t generally pay attention to stuff like that. To me that’s something that’s distractive and inhibiting to the flow. So you’re taking something that has come out from a frozen state and that has to learn how to be. In doing so, it has growing pains in terms of coming from a deep, set, inner state. 

That’s very interesting and it’s probably why we all have these different elements in us. That’s an example of earth energy, and I’m air energy. I would empathize with it, but I wouldn’t be able to do anything about it and would be inclined to turn away from it. I tend to see things in a quicker motion – I have an acuity to that – so I poke things to try to get them to flash and to flicker – I create agitation, set them in motion, to see what they are.

But that’s not your way, or the way of the feminine. You see something as it’s trying to find itself and you’re able to see it coming out from its state of confusion as it emerges from a slow, dense state. In other words, you don’t lose track of this deep, deep space inside of you.

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Jeane: Even though I had a lot of dreams, I only remember one scene and I probably only remember this scene because it shocked me.

I’m in a room and there are three snakes there. They’re the size of large garter snakes. One of the snakes is predominantly black-and-white with crisscross or diamond shaped stripes on it. The other might be white with a pink, or red, stripe, and I forget what color the third one is.

I look away for a moment and when I look back, one snake is trying to devour another. It’s already swallowed about four or five inches of it.

John: So, there are three snakes and one is black-and-white?

Jeane: Yes.

John: And one has a reddish stripe?

Jeane: Yes, and the other one might be green or blue; I can’t remember.

John: Which snake was it swallowing?

Jeane: I’m not sure about the colors. It might have been the pink/red and white one.

John: But one that was either red or green – one of them?

Jeane: Yes. I’m so shocked and bothered by one snake trying to swallow the other that I take the snake that’s eating and I pull on its skin. However, I end up pulling it inside out. When I have pulled it completely inside out there are just two thin threads that attach it to the muscle. I give it one more yank and “poof,” I can feel the energy as the snake dies.

Then I feel badly because I realize I didn’t mean to kill it, I just wanted to stop it from devouring the other snake.

This was part of a very long dream but that’s the only bit I remember.

John: Symbolically, the black-and-white snake is harmless. It’s a basic snake that just goes about its life in an essentially harmless way. Colored snakes – particularly the really beautiful ones – are usually very poisonous, or very dangerous.

So, this imagery is showing something that is essentially harmless devouring that which is potentially very dangerous. You find yourself trying to stop that process and, in doing so you get under the skin of what is going on there. As a consequence, you cause a shift in the energy. The snake dies, but a type of awareness unfolds.

Snake energy is an energy that you see when there’s something that you need to perceive. When you don’t see the snake energy, it means that the energy has been taken in, you’ve absorbed what that snake energy reflects or represents.

But when it’s awakening in you, it’s something new and it can be something frightening; it can be a bit overwhelming. It’s often depicted as the precursor image to a Kundalini awakening.

In this particular case, you’re taking what is a very benign form of Kundalini energy and also a Kundalini that is really, really dangerous, and you’re using the benign Kundalini to devour the dangerous Kundalini.

I’m not really sure whether that image is a positive one or a negative one. Perhaps you need that which is very dangerous in order to make a step forward, or a transition, and maybe you’re devouring that which is very dangerous, which means you’re assimilating it.

It would seem like you are taking that energetic into yourself, and therefore it is becoming a part of you. There’s something really grounded in your nature that can approach that which is dangerous, or out of the ordinary.

There is more to consider in this interesting dream, so we will continue the discussion tomorrow.

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John: So in the last two dreams I’m seeing an opportunity to make progress on my journey (see Breaking Through and The Third Wheel). And although the imagery is different, the opportunity is like that of a note being held out before me. Even though I haven’t broken through yet, and I haven’t owned it, or taken it on completely in a knowing way, it is there for me to reach.

Sometimes, in life, when I meet a person, I can almost see something of the future, because that person will carry the seeds of it as a vibration in them. In the same way, this note is held out to me, letting me see that I have to just sit with it and let it become me.

If I change it in any way, meaning if I take its purity and add some abstraction in terms of hiding and, therefore, also avoiding the directness of the note, ultimately this leads me to an old established pattern. In the same way as in the second dream, if I pause or hesitate, that is enough to introduce the abstraction.

Ultimately, by understanding these images I can see that I have no choice but to stop this equivocation because it’s holding me back from the note. So whether I’m sweating to break through or pausing from my forward momentum, in both scenarios I’m losing my opportunity to connect with the note and leave old patterns and ways behind.

The two guides, one leading and one encouraging me to keep going, are like a type of note, a patented quality. The unpatented quality is the state where something goes around and around and creates all this melodrama that is a complete waste of time. And all the melodrama disappears when you hit the right note, or tuning fork, within the whole. That’s a big shift, that’s a major breakthrough.

The greater theme of all of this is that some insignificant aspect of my ego-nature is limiting me, but the bigger schematic in the whole is to be able to just take on the light for the sake of the light and not have to deal with what you see with your naked eyes in terms of the physical; to actually be able to see something more just by the sake of the light itself being there in the overall.

Ninety-nine percent of what we experience is the world of matter – the world we see around us. But the spiritual journey challenges us to catch up with the one percent that is intangible. It’s available and so apparent that we don’t notice it. We take it for granted. But it’s just like we take an unconscious breath and don’t realize that through the breath we actually modulate everything there is in the universe. If you only we knew that we could do that and are doing that.

These are the notes inside that we can catch up with. However, if we spin away with all our idiosyncrasies, we won’t catch up with it. If we’re doing practices, such as meditation and dream work, we can develop a certain knowing inside. Yet if we don’t own the energy to the point where we can take it into the note that we are meant to bring into this life and carry, then we are just giving it away. It gets dissipated.

I had a healer work on me recently, and she caused me to be able to see this mannerism that I have, that fluctuates back and forth. I purposely do it because part of me thinks that I have to, but what she did was point out energetically, not with words, that I’m hiding what I don’t need to hide.

I have some fear of discovery, that exposure will hurt me, and I even hide it in my higher-self schematic of things. I have enough of a sense of it to know that I don’t want it to show.

In other words, many people go through life thinking that they have to couch or hide their feelings, thoughts, emotions, or their attitudes. I actually feel like I have to hide a certain quality inside me – of my spirituality – and that limits my ability to fully take it on.

So I come up to a point and then I skewer it; I purposely kind of sabotage it. Because I go back and forth in this pattern, it does lead me to a lot of interesting insights about things. On a deep level inside myself I’m saying I hope I never become like the word in the dream, “patented,” because that takes on a particular, fixed mode.

What I don’t want to happen though is to become a victim of something that usurps the energy because it’s not able to quite hear the note that signals its own next step. I’ve looked at it and looked at it, and the reason why it can’t hear that note is because of the traumas built in to its cellular structure that keep floating to the surface.

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