What gives rise to us, the masculine and feminine rays of creation, is ancient. It is one of the engines that has powered the interaction of thing to thing. As separate beings, we each have different roles to play, yet we also have both of these ancient aspects within us. This means we also know them, and what they are meant to be used for. We may have lost this understanding, but it is still within us. (At the end of this post there are instructions and a link to download this recording to your computer.)
John: Perhaps the better way to recognize how this all works naturally is that, to the feminine quality of life, it is actually the obligation of the seed thought of the masculine to give to the feminine. When the feminine insists upon being included, or become made a part of that, it actually is a type of feminine control that tends to cause it to be excluded. Because the true masculine unfoldment process knows that this is its orders to be like this, if you wanted to call it orders, it’s a naturalness for it to need to want to be like this.
The feminine should not go around acting like it’s in a lesser modality of needing to be included because that can lead to it having to do this, that, or the other in order to keep a state of attention.
Well, you see this happening all the time, this quality characteristic happening all the time, as a type of demeaning of the feminine to itself – in the outer. The idea that she should have done something more, or something like that, and doesn’t realize that the principle to which she effuses naturally gives something into life. And it doesn’t mean that life is a candy machine that automatically responds – because the overallness is huge. And the letting-go place that you’re coming from requires a particular quality of purity for it to unfold.
It’s a type of negotiating, or doing this step for that, or however it is. It’s easy to rationalize that. And when you do, you sell yourself short. And that’s kind of an example, too. And so, your dream is if there was like a schematic or a theme, a statement to be made in terms of a general overall way of describing what you’re doing, you’re doing something that involves, underneath all of this, a type of polishing. And you’re not polishing if you sit in a hoping-to-be included kind of way.
And you’re not polishing if what you’re doing is done for the purposes of expectation. You have to do the polishing, or the quality of how it is that you are, for the sake of getting closer to, vibrationally, something more, that is always wanting, and has the need, to naturally be there.
You don’t look at the masculine quality as the seed of things, separate from that which pulls to that. If you do, then some part of you pents up, in some fashion, in an unnatural way. You come to hear the naturalness of both sides – and that’s what pulls both together.
Very complicated dream, actually. But it was in keeping with kind of the theme. The theme had to do with kind of like a process of opening up; an orientational process of opening up, and how you’re supposed to kind of hear that process. And you don’t hear it in terms of a this to that, kind of thing. It’s how you hear the process.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Hear the Process
The idea of “knowing your place” is usually a condescension, an insult. Yet we, in our lives, should know our place: our total connection to all that exists. To accept anything less is to cede the greatness of our possibility; we must inhabit the many floors of the house (of us), as shown in the dream image, and harness the power of the horses that are available when we are ready. This isn’t a movie script, this is a message from one part of a life to another part, to show what is possible. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: In the next dream, you and I have gone to this university, and we’ve hurried to get to a class. It’s a really large classroom, some professors up there presenting. It’s not quite like the normal class that’s held in an auditorium. So it feels more like one of those classes they might have the first day of school, where they’re explaining something.
But, as we’re there, and as the professor’s up there, I realize we must have missed out on some point of the orientation because some things aren’t quite making sense. And we didn’t really go by the registrar office and do a lot of things, either. It’s like we just showed up at this class.
And I think, at some point, I even have a thought that maybe in the past, when I had been involved with the school before, I had even done something where I cheated on one of the tests and never told you, I don’t know, just a vague feeling I have. But I do know there’s information we don’t have. And so some things aren’t making complete sense.
Then when we leave the class, we’ve been in such a hurry to go to the class it’s like we’d put everything in the car and we’d showed up at the university. Well now I realize we don’t have a place to stay for the night. You’re looking at me like, okay, where are we going to stay? So now I’ve gotten in the car and I’m driving.
The town that we go into is a little bit like my hometown, and I remember, maybe from a previous dream, that there’s a section to the right where maybe we could go there and I knew someone that rented out rooms to university students, but I seem to feel like she only rents out to women. So, if we go to the left, I know there’s a series of houses there and some of the people have guest houses or other things and they rent out to students – and I’m pretty sure about that.
So you and I walk up to the door of this one house and a family that lives there. Well, they suddenly just sweep us in. And he has something to do with horses because there’s a corral in the back. He manages horses and people that go out on horse excursions for some wealthier person. But when he sweeps us into the house, the first thing we notice is that it’s like a two floor house, and he and his wife and a son, at least, live on the ground floor, and his mother and what feels like maybe either a couple of his daughters, or sisters, live upstairs. And they just sweep us in and show us right to a room, like, of course, we’ll stay there. We hardly seem to have much say in it.
We first sit in a little room, in fact, two little girls come to stand in the door and they’re staring at us; they want to see what we look like. I can tell that there’s an estrangement between the wife and the mother, because the mother stays mostly upstairs, because my wife finds her difficult to deal with. When I look out the window of the place and I see the horses, I realize we’ll probably be able to go on some horse rides.
And suddenly it’s morning. Then I seemto go in and I’ve gotten on a bed and I’m sitting and talking to the wife, because I can tell there’s a stress in the house with the mother there. That’s all I remember of that dream.
John: Well, this dream is like two dreams, in that you have the first part where there’s something that you have to do in terms of your overall presence in life. The way to look at this dream is to act like everything in life is like a shadow to you. And so you have to confront that in an honest, and straightforward, way; and you have to take it in. In other words, you don’t take it in as a sight, you take it in as something that you encompass.
So, when you go to the university, the immensity of the university, you have to take in that whole immensity. If you don’t take in that whole immensity, there is some aspect about you that is kind of lying, or is not telling the truth, in terms of what it is able to do.
Then the dream continues, to add more information, by indicating that part of taking on all that there is in the School of Life involves, then, you’ll have to do that. Because if you don’t do that, then you don’t know where your place is, because your place is in the wholeness, or in the overallness of life.
The feminine pretty much directs that sort of dissemination of a flow, because the masculine works with the principle more of trying to know where something is at, sight-wise, when the feminine is supposed to know naturally. So the feminine needs the power of something, though, in order to encompass, or to sweep in, in an overall sense, to keep from having heebie-jeebies, or whatever, in terms of the overallness, does not know that they have this immense responsibility.
So, to point that out, the feminine goes to this family that sweeps them in, meaning that they are meant to take in all of that, and that is your home. And, in this place, this place being a place in manifestation, in that is the power, represented by horses, for you to find the completeness and the wholeness. You’re doing this, not the masculine. You’re doing this because this is your role, this is your responsibility, this is what you have taken on.
Now, this is the nature of how the feminine principle is evolved in life, in that it is taking on roles and responsibilities. And as soon as it has taken them on, it can’t just throw them off. It can’t just go and say, Okay, I’m done with that. I’m not going to take that on anymore. It can’t. And so it has to kind of see it through. In other words, this is a higher octave of this kind of dreaming.
If you’re taking on a certain quality of how you’ll be in an orientation that is receptive to a type of atmosphere, called the university atmosphere, once you have put your attention in that, you have to take on that whole thing. Once you decide that the way to travel, or to go, is in such in such a way- in terms of a home and such – you can’t then ignore that as a calling, or a responsibility.
Now some could call this dharma; some could call it karma. But the general way of looking at this is to realize that wherever you place your attention, you now have invoked a responsibility. Now, if you don’t place your attention out into many things, only into a few things, even then whatever that might be, your responsibility is engaged. Wherever you look, you have a responsibility. It’s just the nature of the human being, because a human being is a Crown of Creation in which, how they see things, what they see, how the world is as an effect upon a sense of themselves. And they have a sense that is as big as the universe.
Wherever that gets directed, that then becomes something that you have to contend with. For example, you have the responsibility, in your dream, over the university atmosphere. You have the responsibility, in your dream, over the place where we stay. You have the responsibility in that place, where you stay, to catch up with the power of that place. That’s the quality of the feminine principle in manifestation.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Knowing Your Place
When no one is listening to us, what do we do? Often, we raise our voice to be heard. Or we make our text ALL CAPS. Well, our systems can feel the same way in their conversation with us, on the inside, through our dreams. That’s when we get jarring or unsettling images that can throw us off for the whole day when we wake up. In this example, there is a murderer, and then the killing of a murderer. But we are all the characters in our dreams, so the image is an expression of a deep fear or resistance to what needs to occur. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane:I didn’t seem to like my dream last night, I only remember one of them. In that dream, I’m living in a house, and there’s someone that’s going around town murdering people. And I’m trying to find, or capture, that person.
And I’ll go out, and I’ll be looking at people and following them, and then coming back. And people come to the house, and I’ll be looking at them. And, at one point, I have three people sitting in a room with me, I think it’s three men, one person I know from high school, I forget who the other two are. And I become convinced that’s it’s one of them.
And I know that the characteristic of this person who’s killing people is that he’s compulsive, because he’s killed successive people. And, anytime anybody comes through, it’s like I’m looking at them, I’m examining them. I’m trying to figure out where they were and what they’ve done. And everyone does kind of keep moving. So it’s hard for me to get a sense of them.
At one point, I have to leave these three people I have in the house where I’ve kind of narrowed it down, I think it’s one of them, and I ask some friends to watch them, and describe that I think that whoever it is will be compulsive.
Well, when I come back to the house, they’ve captured the person that was murdering everybody. I even thought it might be one of the ministers, but it ends up being a woman. So I have two of my women friends holding on to her until I can get back into the house. But as I come into the room, they take some kind of a cylinder and push it into her arm, cutting the arteries, so she’ll die. And I’m like shocked that they did that. And maybe they just thought that would stop her killing anyone else, but I’m shocked at it. So that was the dream.
John: The dream was triggered by the fact of an energetic inside, or a kind of awakening, or awareness quality, that you’re moving towards inside, in which the idea is one of letting go of everything.
So the idea of letting go of everything is scary because it triggers the impression of a kind of death. And so you’re trying to figure out how to observe all of this, how it is that you can take and observe, or notice, what is changing. Because this whole schematic of a type of death is a schematic in which a quality where you’re used to trying to make something meaningful – you can’t quite do anymore. And so it’s like the flip side of that, is that something is killing you.
It’s a peculiar sensation. The first time I had the sensation like that is I actually had something physically wrong with me. And, of course, I carried the sensation in terms of waking up and there being like an emptiness, where there was nothing alive, which meant that there was something dying.
That isn’t what you’re doing, what you’re doing is you’re carrying this sensation of something like this, because there’s a sense of a stillness, or a quietness where you let everything go. And that has an impression of death. So the oddity of this thing is, no matter how you look at this, it still looks like something has to go. And there’s always something that has to be let go of.
And so, in terms of your view of the overall world, that’s like something is dying, only you’re dying in terms of the way you’re caught, or held, or tied up in terms of the world. It’s a scattering sensation. You feel scattered, you feel discombobulated, when you have a dream like this. You feel like you can’t trust your sensibilities, even, when you have a dream like this. You feel like you’re overwhelmed, and it’s because you’re coming dangerously close to something in which there isn’t the aliveness that kind of keeps things going.
You carry something like this to the farthest degree, it’s almost as if the stillness goes back to the Demiurge, which is supposedly a vibration that came and ultimately out of that is the evolution of the species. And first there was just the Demiurge, and then came something as embodied as life; as human existence. It’s almost as if that’s where something like that is going; in other words, where it’s going, how it’s going, what you’re scoping to find, how it’s to be, is still like a mystery because it involves having to let go or sort something out.
And the attempt to do so causes these images that are kind of terrorizing, because it’s easier to keep something quickened in one’s nature, than to adopt a state that is more empty, because that is scary to the sense of oneself, that holds on to this quickening, that’s like an aliveness or vibration. It’s scary.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Something Has to Go