Posts Tagged ‘overcoming psychologies’

John: The next dream starts off with a script that is being played out, like a movie, in the sky (for the first dream in this series, see Jumping to a Conclusion). In other words, it’s like it’s being designed up there, far above.

I’m watching it, and wondering if it’s something that needs to be taken seriously or not because it’s so far removed from everything else. 

Suddenly something happens that’s not part of the script. It isn’t supposed to happen because a person could get hurt. I see the main character tumble all the way down, falling through the air down to earth. I’m amazed that this is even possible!

The movie continues, but it gets even more bizarre because now that part of it (the main character) has become grounded, the whole production seems to increase in loudness. In other words, once it achieved grounding in the world – once it came into manifestation – it must be faced more directly. When it was just free-floating, it was still possible to ignore.

As the scenes unfold between two actors, there is, at the same time, an advertisement for beer being shown on the side. Anyone observing the scene is getting both a partial movie and an advertisement. The whole thing seems a little bizarre, and I’m taken aback by it all.

When it was up in the sky it was hard to figure out what was going on and if it was meaningful. Now that it’s down on the earth, all the irregularities are visible; some things still need to be worked out, etc. I can see the effects more clearly.

As I’m noticing all this, the young boy (from yesterday’s imagery) comes down to where I am, and he still thinks he has opened something up or reached a realization. It’s the same information that he secretly recorded with me, and I think he’s taken it out of context.

His energetic approach appears very scattered compared to this movie event that seems to have done the impossible: it has tumbled down from above where it was playing itself out in a surreal way, to where it now has a greater seriousness, and loudness, yet it also has an aspect that is designed to deceive the viewer into buying certain products.

As illusory as it is, it is at least an attempt to bring the inner into the outer. The boy’s approach of trying to usurp what he thought he was getting, deceptively, lacked a lot by comparison. It didn’t feel right because it didn’t have a soundness to it. When the boy is suddenly there, I point to what just happened with the movie and say to him, “That’s how it’s done.”

So, what do these two dream sequences show me? In the first sequence, I overhear information that has no follow through (the idea of the casino in the bar), so I’m unable to find comfort with the idea and I go away disconcerted. This energetic is the seed energy for this sequence.

The information I’ve heard, or think I know, is then carried forward by the young boy, who has taken my thoughts out of context. He thinks he can act on those ideas and try to work something out, as if the ideas are absolute and real. The boy doesn’t know how to put what happened into context and he’s seeking to take advantage of my good will.

At this point, the two dreams portray an abstract mannerism in which the seed idea (that was heard as conjecture, not yet fully formulated) is being understood too literally. It’s trying to be used as an end result. Since I’m not settled with it (I can’t feel it), I have to leave the bar.

However, the boy takes it on. I leave the first part, but the boy carries the casual conversation forward as valid. I’m still in a delirium but the boy has recorded what I said and has the intention of holding me to it.

These two sequences portray an energetic that I carry, which is leading to confusion.

The next installment in this sequence, which we will present tomorrow, explores how these images are meant to evolve.

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John: Yesterday my dream was propelled by the energy of the kundalini, which is a Sanskrit word meaning “coiled” – like a serpent. It’s an energy that is mostly dormant in all of us, and is seated in the sacrum at the base of the spine. The kundalini is an amazing energy in that it’s a result of the clash, or coming together, of an inner aspect of light. (For yesterday’s dream, see The Heat of Kundalini.)

Kundalini has to create and cause an outer aspect of light to emerge. In the masculine way, it gets snapped into existence. In the feminine way, it just is. When it is awakened, everything is perceived and appreciated as being a part of the light – it’s a divine connection.

So in this imagery, I’m shown two possibilities – I’m shown two ways that things can unfold.

One is through the personal, ego-based way of the human, where a person acts according to their best thoughts and perceptions. The second is the divine way (universal way), which has to do with being embraced and swept up in the light – in the flow.

Of course we’re not used thinking that the world works this way. We’re used to fumbling about on our own in order to bring about some change, or to rectify a situation, or to try and steer things toward an imagined outcome that we have projected. That urge (which is a very personal view of life) cuts us off from the way things are, and from the way they should unfold, naturally (universally).

So, in the first dream, I begin by having to fulfill or maintain a perception of what needs to be, in terms of where and how I need to be situated. I’m trying to fit the ideal of what I’m projecting – according to my human perception. 

In this vision, I see myself as a person named Stark. I’m standing in the shadows – I’m barely an outline – and there are scores of my replicated self, standing side by side, formed into a circle in the shadows.

That image morphs into a pulling together of the limited light, and formulates a position in which all of the various points of human consciousness are pulled together to create an end result that looks like the light array of the Las Vegas strip, but that I can feel has barriers. In other words, it’s not wide open; it’s not totally free.

It’s like I see the lights from all the hotel rooms as dots positioned in relation to a particular spot in a building. And I know that’s unacceptable, but it’s the best that I can pull it together – the best formation I can make – in relation to trying to contend with the lights emanating from the Las Vegas strip.  

It’s like I’ve recreated the lights of the strip myself, but it’s a poor imitation. There are parts still in the shadows, as though they’re protected.

So, there’s something not quite right in all of that. I mean, with all the effort I made, that was what I ended up with? There’s a sense of personal indulgence in this effort that hurts the heart.

This image is a portrayal of what will unfold based upon my current state of consciousness. Because I’m in the shadows of my true self, I’m not fully aligned. So the result of what gets portrayed is unacceptable and not how things need to be.

Simultaneous to that vision was something that also occurred as an example of the second way, the divine way, in which I just allowed myself to be in the light, to stand in the face of the light. 

In other words, I was not in the shadows, not in a multiplicity of myself, and not called Stark. I was just myself in the light, not trying to do anything other than take in the sense of the light.

It was as if the light knew how to give birth. All of a sudden the light flares out, just like you might have a solar flare or volcanic eruption. The best way I can describe it is that it seemed as if the light had a tail to it, and the tail just flickered out through the rays of the light, sparkling as the tail moved.

The end result was a whole new manifestation within the light. Something new is there now that couldn’t have been put together in the wildest imaginations of all the Starks of the world.

In the misaligned state, this instantaneous manifestation could never come about. It’s as if the light suddenly just flickered a tail, created the flare, flashed it out, and then lo and behold there was a whole new extension of lights. It was like the next phase. It was what was needed.

So this is shown to me as what’s possible when one stands in the light of self without compromising it, without limiting it to the personal view. The unfolding it portrays is a divine plan coming into manifestation, born from the light.

Because we all are the light, that’s all we are. If we surrender ourselves to the light, new manifestation becomes possible.

If we don’t surrender, we are limited to our own faculties, which can only lead to the “Stark” images – endless replication. It’s living life through a shadow consciousness that doesn’t know any better.

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Jeane: Early in the night, I felt like my dreams were about watching acrobats, because we had gone to see Cirque du Soleil. Later I had a dream that took place in an era from the past.

A young girl and her friend are on a road, along with people from her village. She and her friend do something that offends people, especially one young soldier, so they’re going to punish the two of them. 

I don’t remember how they were going to punish the friend, but the young girl was going to have her face held down on a counter, with her nose against something like ice, for a certain period of time. 

She’s protesting this because the way they plan to do it could damage her nose. The soldier, who at first was insistent that it be done because he had been insulted, has started to change his mind. But there are some older women from the village who are insisting that the punishment go forward.

Before the punishment can be meted out, some people, who were hidden, appear and snatch the girl away.

When the soldier and his friend go to find her, the hidden people trap them in the hallways of the building they are in. Then they actually tie the soldier’s friend down behind what looks like a mouse hole; they’re going to subject him to the same punishment the soldier was going to force on the young girl.

In order for the soldier to set his friend free, he has to get to him without setting off a large array of mouse traps that have been attached to things that look like they could blow up. The soldier is uncertain how to do that.

Suddenly the older women and other people from the village come rushing in and they brush against all these mouse traps, which causes them to just go “poof” and disappear in a harmless way.

The girl, meanwhile, has gone into the other room and now the setting has returned to more modern times. Someone asks the girl her name, and she gives her name one way but then says she could give it another way because I think her parents were divorced a long time ago and she could use her mother’s name.

When she says that last name, someone realizes that she’s the child of the person who rescued her, but her rescuer didn’t even know it because of the name change.

So, that was one dream.

John: This dream describes a quality whereby you indulge in something to the point where you transform it into something else. But the dream also indicates that this indulgence is a wonderful quality in that it can cause…

Let me say it this way: If your focus is upon something that’s right in terms of its importance, flow, and unfolding, it can give you the ability to make things go “poof.” When things harmlessly go “poof” in the dream, they are “traps” being released from other things in the environment or surroundings.

This idea is worth looking at in greater depth, so we will continue this discussion tomorrow.

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