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Posts Tagged ‘earth air fire water’

341d4Here John takes a look at the different ways that different religious paths approach the same goal of inner connection and inner awakening. And what is interesting to understand is that religions have sprung up over the centuries to offer guidance to the human journey and, though they may seem quite different one to another, they are all still only facets of the one thing that is going on in creation. We’re all individual, so each of us must find our own way. Religions just offer a pathway in, and a process to overcome what prevents us. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: Well, that’s why you have the elements, and the Naqshband accentuates the Earth element and the Earth element is going to have a certain dourness that’s apt to come up because of the heaviness of things that’s perceived in a physical orientation reflective outer.

And you have to go behind that, but in going behind that you can’t leave the physical behind, and there is no intent of leaving the physical behind in terms of the Naqshband process, but there is a little contamination that is slipped into the equation by saying that how things are in the outer is somehow or another poisoning the inner.

Well, the reason why it appears to be poisoning the inner is that you can sense that there is a gap or a distance in terms of fully grasping things in the outer and, therefore, there is the same gap or distance in terms of fully comprehending the inner. And the answer for that is, it’s not inclusive; something is being left out.

And this thing seems very, very difficult, which shows that you have to make some sort of huge leap that can only be made in a type of deep, deep innerness because if you were try to look at this from the standpoint of a discussion of the breath, you could say, okay, well, you know, the Earth element effect upon life, which there are say four elements that you have to contend with, Earth, Water, Fire, and Air.

The Earth effect is a breathing in the nose, out the nose, and the Water effect, which is a Chisti orientation that works with traits, and tools, and characteristics that break through things for flow purposes, and uses music and ceremony therefore, as well, because they are closely correlated; that recognizes the importance of sound, which is an aspect of flow, which is an aspect of water, which is an aspect then of music and is correlated with how physical manifestation is because it was created out of sound.

If you look it just that way so you’ve got then the breathing in the nose, and out the mouth. But then you need to be able to catch up with a greater fullness beyond that which, let’s say, is Fire and Air.

And the Air quality is an expansiveness that you just experience somewhere. Well that’s a breathing in the mouth, and out the nose. Well that’s a little unnatural in a way if you think about it. Visualize yourself going around using a tool like this, a breathing in the mouth, and out the nose. Or let’s say you’re just trying to do a Fire aspect of things. That’s breathing in the mouth and out the mouth. I don’t think that works. I don’t think you see people going around doing that.

And so some part of me has kind of understood this from long, long ago because I came to look at these traits in terms of a certain way in which they root themselves, how they root themselves, and that you catch up with the inner through a certain groundedness in the physical.

And that even though the physical is dense in its nature, you ground into the physical and that’s why, I understood, 20 years ago I understood but didn’t know what it was that I really understood then, and it was me trying to grasp what Raj yoga was really trying to do and what it was about, and it was an observation in terms of the experiences I was having under it, was that within a vibration of something, which is described as the Word in terms of the Bible and all things were created out of the Word, within that vibration, which is like a flow, which you could say is like a sound if you were the Chisti talking about it, that is like a noun.

A noun is something of which you have modifiers to it, and the modifiers to the noun have parts and the parts are music, which would be the sound characteristic of this noun, light, which again is another characteristic of this noun, and then there was like even a taste, a nectar that made you really high and ecstatic, that could give you this whole Fire and Air element rising up inside of you that was an aspect of this noun.

And the way the practices were oriented for someone doing Raj yoga was you had these four techniques, and one of them was the rootedness we’ll call it. The other worked with sound, the other with music, and the other with this ecstasy that was like a nectar. And the way they would explain this nectar was that it was what sustained Jesus when he was in the desert wandering for 40 days, you know without food or whatever.

And he accessed this quality inside of his beingness. And the way that another one of those techniques is revealed has to do again with what Christ portrayed at the Last Supper, in which he portrayed something, he opened up something to them that is depicted in the Bible as being like rushing waters, or there’s other depictions of that and that was the inner sound.

So anyway, each of these characteristics and traits I came to find out were automatically there when you held to the noun. We’ll call those other three like adverbs that modify the noun. And if you held to the rootedness of things, the others were naturally there.

And what I have recently come to realize, and I was coming to realize that in terms of the limitation of what I was trying to do under Raj yoga was that in trying to focus upon anything specific – like these other three modifiers as if they were all equal – caused something to be missing, caused something to be missing.

And so I didn’t know what to make out of that. All I knew is if I held the noun, the others could be there and the way the techniques were taught was you spent 15 minutes on each one. You didn’t make one more than the other, but I tended to notice that holding the noun part the others were there, and that when you focused on just the light, or focused on just the sound, which is the music, or focused just on being this highness, this expansive quality highness, that you had to abstract that from the whole. And holding the noun, the others were there.

And so what I have come to notice is one day I was talking and I was explaining an experience that I was having, and he says, “That’s all I do, I just sit and listen to the sound.”

And I go, “Really? Really, that’s all you do?” Well, that isn’t all that I do. It used to be that I might have to listen to the sound to calm myself, or to quiet myself, and to a certain degree that’s what the nature of sound is, just like the nature of light is to burn off a certain density or samskara of active thoughts that get in the way of letting go.

And so it used to be that I used to do that, but then I came to realize that my mind can sit in this lullaby of the sound, and so the sound is there just like I’m doing the noun. The sound is there and I let go of that sound, in other words, I don’t focus intently upon that sound, and I go somewhere.

If I focused intently upon that sound I would still have a certain quality of mind/sense awareness that would still be trying to figure something out in relationship to sound then, or in relationship to light, or in relationship to being high.

And then as a consequence then I then fell into a total stillness, a total emptiness deep, deep, deep within.

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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: The best way to describe my dream – because it went on for a long time – is that I was in a kingdom where there had been some sort of coup; someone had taken over from what was there before.

There were a number of forces running wild, still trying to take over certain areas, and some of them used magic. I never knew who was a friend or a foe. I had to keep moving fairly rapidly, trying to identify who might be okay, and trying to decide which energy to reinforce. It was really a rather perverse society. 

The term that kept coming to mind is that this was a society that would eat its own young. So I had to stay sharp and stay on the move all the time, and look for allies but never be quite sure if I could really trust them, or if someone might be watching or even coming down from the sky to cause havoc.

I remember going into a room, somewhere that I’d been before, and I had to retrieve something. There was a workman in the room doing something to the polished oak floor. They had taken the foundation out from under the floor, so I’m not sure if the boards are going to hold when I have to cross from one end of the room to the other.

There’s something I had to get in either the bathroom or the kitchen, so I just do my best to rapidly cross the floor and hope it holds. Then I leave because, again, I’m having to stay on the move and keep my eye out because I’m looking for alliances to build towards creating something that’s better, but I really just don’t know whom I can trust.

John: So what do you think the inspiration for that dream was?

Jeane: Coming to Las Vegas, for sure.

John: Okay, so how is coming to Las Vegas causing you to being on the move? I’m not sure what that’s trying to say. Is it trying to say that you’re going to be able to fix something that way, or are you just aware that everything is affected?

Jeane: I’m not sure myself. It was a strange dream.

John: What was the last part again?

Jeane: I had to retrieve something. And then I’m looking for alliances, and I go into homes and I’m looking but I just don’t trust anything yet.

John: Yes, you’re trying to pull something together out of…

Jeane: There are forces there that are helpful, but they’re hard to find.

John: Yes, it’s interesting in the sense that you realize that there’s something to be appreciated, even with all the chaos that exists. It’s something that’s latent in terms of what’s there below the surface. It’s kind of like…

Jeane: Everything was in chaos, and there was magic being used and misused.

John: Ah, in other words, misuse. So you’re seeing a lot of misuse in terms of the glamorous surface of things. I never thought of it that way. That’s probably what became of Atlantis, where there was this great Mecca, but it degenerated into all kinds of misuse that caused the defiling of something sacred.

Jeane: But underneath that, there were other forces that I felt were trying to work in another direction – so I was trying to find those.

John: And so there are forces that are important about all of that – at the foundation of things. Even the floorboards that you have to run across aren’t held up by much. In other words, you see something that’s the epitome of confusion, chaos, and disturbance, but at the same time it’s the brightest thing on the planet in terms of the light that it gives off (although it’s artificial light). There’s something redeemable in all of that.

It’s interesting that you had that sense. I didn’t automatically have that. You’re already trying to pull what is redeemable, or of value, out from the glitz and chaos that is Las Vegas.

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