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Posts Tagged ‘meditating and dreams’

429dWhenever we make a decision, we become something: we become the thing that does “that,” – whether it’s good or bad. And, on a certain level, that creates our identity. You could say that who we are is the sum total of what we will do and, even more importantly, what we won’t do. Yet, at the same time, to become aligned and intertwined with the universe, we also have to let go of that identity to allow ourselves to truly merge with what is higher. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, I lost my main dream, and all I really know about the dream is, I think one of the reasons I lost it, when I opened my eyes was that I was in conflict about something. It was like kind of one side debating another side, and I couldn’t hold onto that when I opened my eyes.

And I did have an after image, and the after image is like I just mowed the lawn where I was living, and I’m thinking about it’s almost like the image of a Y-shape, in other words, like if you kind of came up the sidewalk and the sidewalk goes to the right, but I had also gone off to the left which was all grass.

And now I’d come back after I had mowed the lawn, and I’m kind of at the top of the Y on the sidewalk, and I’m sweeping up all the loose grass and stuff. But it stirred up so much dust I have to put on a little mask, and once I have a little mask on then I realize it’s still stirring up so much I need to put something over the eyes, too. That was the only image.

John: So, the theme of the dream is about definition. In other words, every person, no matter how they try, never quite gets to the essence in which everything is still. And that, as a consequence, whatever signature note that they carry creates dreams, creates images, creates a dynamic in which the outer, which appears to be a dynamic that is actively engaging, is technically an illusion in which, if one didn’t have their nature, you know, their signature note going at it, you wouldn’t have an imbalance. You would be in flow and intertwined with everything.

You naturally are, but because everyone has a signature note this, then, no matter what they do, whether it’s good action or bad action it really doesn’t matter because what matters is the definition that you find yourself buying into. And so the tone is set by your initial dream, that you don’t hardly remember, in which you find yourself as having a contrast. And, of course, whenever you feel there’s a contrast, or decision-making, or positioning, or whatever it might be, that sets in motion something that keeps you from coming to a complete stillness or an emptiness.

And then you have the image in which you are on a path, and you choose to veer this way or that way on a path, which means you cover the territory, or the lawn, that extends in one side or another of the path. And you’re experiencing this to recognize that this is just how one’s predilection is – as it tends to have to invoke, or involve, in relationship to an overall. It does not know how to just be an amoeba, or an intertwined essence, in the overall. It is always constantly struggling to stand out, or be recognized, or in some capacity function, and it does so in terms of an orientation that it has taken on, and that orientation, whether its an orientation that’s good, bad, or otherwise is still an orientation that takes one outside of what really is the natural stillness.

That’s why on, say, the Naqshbandi path you have the dhikr. Conceivably, if you could do the dhikr correctly, you would be in a deeper space inside of yourself so that you would be functioning in the outer without a mind and senses going at it to try to define your caricature in the outer. You would instead be immersed in something that you’re deeply touched by, which is the overall, the oneness, the heart of the world, the light of the world.

Even though you may not see it, you would still be putting yourself as much into that as possible, to the point where you lose yourself in that, as opposed to some mannerism instead of how you see yourself.

The same thing’s true of listening to the sound, like I do in the meditation, and as Shadeen has indicated, that’s all he does when he meditates, which is an interesting statement. I asked him something about that, and he says, “That’s all I do.” Now, of course, on what level are we talking about? And what is it that he’s able to actually truly listen to?

But what I’m noticing is that if you can listen to this completely, and not have some part of yourself loudly jumping about, you can come closer and closer, or who knows to what degree you actually are able to experience the essence of it all, instead of some mannerism, or motif, that you propound.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Immersed in Something

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John: Tell me again what the masculine figure was doing in your dream (see The Mother Ship).

Jeane: Well, the mother ship is in one area (to the right), and the man in his spaceship is over to the left. I’m kind of off to one side, and his mother is in between. She’s dispensing supplies from one ship to his ship, and then maybe to my ship.

John: Oh. So, what you’ve just imaged is the idea that the mother ship is where you get your direct orders. That’s where you get the impulse of what is meant to be. You’re not receiving those impulses yet, because you’re still outside that system.

However, you have in place a way to connect to the mother ship that’s an in-between state, just as in the outer life you can interact with a teacher to help with your connection.

Jeane: Yes, his mother is the one that’s having trouble with our move. I can get the miscellaneous smaller items directly from the mother ship, but there are certain larger supplies that have to come through his mother.

John: Right. In your description, the mother is the heart. What you’ve just imaged is that you’re actually getting the smaller supplies directly from the higher source, yet in order to get the connection that you truly need, it has to go through the heart, and the mother figure is a reflection of that.

This is a dilemma for the spiritual teacher in that each person has their own connection, or higher calling, or some quality that, as they get spiritually aligned, will get linked, or activated, to a sense of knowing that arises in their nature, and that is supplied or fed directly from the galactic.

When that process occurs there is an inner recognition of it. The inner recognition of this connection then becomes known to the teacher – that the person is being provided something from deep within, as “orders” from the universe, in a modest or minor way.

What this does is set in motion something that pulls at the heart of things, which flows through the teacher. The teacher sees this and recognizes that they have to facilitate the next step. The student is out on a limb during this period and the teacher has to sense that.

Then the teacher is compelled to facilitate the greater galactic unfolding of the student. This always occurs by the signs of things coming up on the horizon. As they come up, they suggest a next step in the unfolding process that the student is on, even though the student doesn’t know where they’re leading.

The mother of it all, who is the teacher, and is the heart in this case, is intended to see this and support it. So at this particular point in time, you’re in this in-between zone where the degree of support that is required is still to come.

You dreamed about the spiritual journey. You did it in terms of a system in which everything is complete. You did it in regards to the overall schematic. You had the beckoning of little things that caused minute shifts from the galactic that the heart needs to recognize.

What is spinning out from the mother ship of the galactic, or from the point that is the heart of hearts, is the unknowable above. The heart (the mother figure) has to acknowledge that (facilitate the move), and that idea is also embodied in the relationship with the teacher in terms of the flow and spiritual process in this lifetime.

The teacher, being the heart of things, is considered the love principle that moves things in life. The teacher is linked to creation, and therefore has to give the student, through the heart, that which is needed for the primary unfolding to occur.

This leads to more than can be imagined (that’s why you are awaiting further instructions, or the larger supplies), because the initial precursors are allowed to be there as trigger points, or hints, for the heart of it all to recognize, support, and assist, even though what is shown in your dream is that this quality is not quite in sync yet.

So you are receiving these impulses from the galactic, but they’re impulses that have more of a human characteristic about them because they haven’t quite linked, or gone through, the support of the heart.

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Jeane: I had the first dream around 1am. I’ve been reading a book about spies lately, and it translated into this imagery.

So in the dream I’m male, and I’m a spy. At least that’s what everyone thinks, so I’m being chased. I have a very special camera – very high speed – that I recently got. As I’m being chased, I realize that even if they catch me, the things I’ve seen have already been recorded.

Basically, the pictures have been transmitted to the camera, and then have been downloaded. It doesn’t really matter if they catch me, because what’s been seen has already been seen.

John: That’s a deep dream, and it’s short and to the point.

What you’re saying is that you have already caught glimpses of something that is important and meaningful in life, and that has been downloaded into the depths of your being. Even though there will be moments, or periods of time, when the past will catch up with you, it won’t win out. Something has changed in you and there’s no going back.

It’s actually a very interesting dream, because it also gives us another example of how our dreams can help us on our spiritual journey. In this case, it’s your higher self that’s relating to you that it has been touched, it’s been reached. So now it’s alive – it’s on the move.

It’s like you’ve had a light bulb moment in relationship to your higher self, so even though the clarity of that moment may get fogged up from time to time, the connection has already had its effect. That’s why in the dream it doesn’t matter if you are caught – the exchange has been completed.

So it’s a wonderful dream. Can you tell it again? It will come out differently the second time. Because it’s so condensed and to the point, telling it again can bring it more alive.

Jeane: Okay. My persona is masculine, and I almost feel like a foreigner because I’ve been reading about spies in other countries. I have this very special camera, which sort of resides up in the sky.

As I see things, images are transmitted to the camera, which then transmits them somewhere else and downloads them. So, even though I’m running and realize that I might be caught, I also know that it doesn’t matter because the camera has already downloaded so much.

John: Ah, so what you’ve indicated in the retelling has added a further dimension to the process.

In both descriptions you indicated that you had a masculine persona. In the retelling, you indicated, by placing the camera up in the sky, the reason why: It’s a trait of the masculine to cause something to come down and through from above. When it does, it seeks to touch that which you are, which is the feminine in Creation, and cause something to open up. When that opens up, the download is made complete.

It’s like what we spoke about yesterday (see A Fundamental Process), where the masculine aspect provided the necessary trigger in you, and you were able to provide the grounding of that into life. Here again, the masculine aspect brings something from above, and needs to connect with the feminine aspect to allow the full download to take place.

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