What does freedom of choice have to do with spirituality, religion, and God? One way to think of freedom of choice is to consider that everything has been created by something greater than ourselves, yet we are not enslaved to that greater power, we can do what we like. Still, it is part of our design to return to our creator, but we have to do it of our own free will. So all our choices matter. But the most important decision is whether we are living on behalf of something else, or for ourselves. (At the end of this post there are instructions and a link to download this recording to your computer.)
John: So now comes something that is very similar to your knife thing that shows the two halves playing themselves out in the outer. And yet to begin with, if I hadn’t had this to realize that this was the motif of the theme of how a perception needs to be and that you catch up with these reflections.
Another way of saying it is, you have a dream body side of yourself, or a body of light, which is separate from your physical body, and in that is the dreamer. And the physical body of things that is the more slowed down manifestation part, is the dreamed – and the two connect. That’s another way of saying it.
So in this dream, because the setting is speeded up as a result of the influence of an inner vibration upon the scenario, it is not acceptable to carry on as if everything is as usual. In other words, you don’t reject things and whatnot. Everything is meaningful.
So in this setting there is a person who invites things to be thrown in their direction. Now is that a real person? Well, it’s kind of like a mannequin in the image of a human being. To pitch things out in the usual way would be unacceptable in this speeded up setting in which revealing something more is there as a potentiality.
In other words, you don’t just judge what is happening. Everything no matter how ludicrous it looked is depicting something. So to portray this, you know to further what this looks like, it’s like you have a mannequin that’s like on a placard or something, and it sits standing up just like a human being, and so you’re told that you have to throw these feathers at this mannequin. And to begin with, this is like stupid except there’s a difference in what’s going on.
The mannequin, because it’s on a placard, if it moves a little bit there’s a sticky side, and whatever you throw sticks along that side. And when the mannequin falls back, whatever you throw sticks on the other side. And so these are like projections in which you’re throwing something that’s like a feather-like object, very subtle, and then how it hits, it’s a little bit coming from the dreamer side as a dreamed effect, it’s a little bit out of your control because how do you… you know, it’s not like you’re throwing a knife or something which is very focused.
You’re throwing something that’s more like a feather, it’s more subtle, and yet it hits the sticky surface on the side of the body, first on the left side or then on the right, or however, depending upon how this mannequin is turned first one way or the other, and when it hits that subject it sticks out like a quill.
And so when the process is done, and the feather’s stick out like quills on each side of the mannequin’s body, how this is portrayed or what this looks like, what it appears to be in its random way, is most revealing. How the feather quills are lined by what seemed on the surface to be a totally random action depicts, revelationally, the end result indicates something most meaningful about the person who had thought his projections were of no meaningful significance.
The meaning is, is everything we do reveals something meaningful in terms of the aliveness of manifestation in every regard and, of course, an aliveness as a kind of “as above, so below” kind of way of being able to see it, the dreamer of the dream.
So what was set up was like a meter. In other words, it was like a type of gauge between the inner and the outer, which depicted the setting of a person in terms of consciousness and/or unconscious projection. This was possibly because the setting was speeded up so that the actions of a person in the outer spoke of the dreamer dreamed aliveness.
The results depicted in the outer were not meaningless coincidences. Thusly, that which reflected in the outer spoke of the way that the divine was coming into its world from within. The dreamed may not be fully aware of how this was designed, but a teacher familiar with this speeded-up inner process was able to see the revelational meaningfulness.
This is especially true for those who he works with in terms of awakening the secret substance in their heart. What that then reveals is reflective of how the divine is revealing himself. The divine reveals himself in the world in ways that are so wondrous that, for a person with eyes to perceive, this being the inner/outer teacher aspect of life, to step back and react reactively is not where it is at.
Instead you have to reflect revelationally. To not do this is to not respect the freedom of choice and think that something needs yet to be manipulated or changed, in some sense, as if there is an alignment problem. Such a conclusion would be an annihilation of the divine when it comes to situations like this.
That is why it is said that when the spiritual path has reached a certain point, that the human being yet doesn’t know what to annihilate, but both the wayfarer and the teacher can struggle with this annihilation business. You know, they can be off on what it is that they understand because so-called imbalances are not necessarily imbalances given the huge overallness of what God is. And everything is God.
And a human being reflects that so you never know for sure what to annihilate when you get to this level of revealing.
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