The idea of a maze makes a perfect metaphor for physical life – when you’re in it, you can’t see where you’re going. Yet as soon as you raise yourself up above it, the correct path becomes obvious. So it is with our spiritual journey: when we are stuck in our self-centered view of life, and caught up in defense mechanisms and old psychologies, we don’t know where we’re going. As we let go of those attachments and become less personal and more in service to creation, we rise up and get the higher energetic viewpoint, which reveals the best way forward. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: I have one dream I didn’t pull out well, which I just felt like I was pulling some music down through a young man who’s kind of like just standing there, maybe on a hillside. But it’s almost like when I pull that music down and through him, it’s like I want to swap it out for some other music, too – if I’m remembering that one right.
That one I didn’t hold onto well, so I should probably just go on to the main dream.
John: What you’re describing is a type of subjective energetic that causes life to be pulled together, in other words causes an inner and outer to be pulled together by, I guess what you would call, the feminine way of saying “I need you,” as opposed to the masculine way of saying “I want you.”
And by saying I need you, what you’re doing is you’re magnetically drawing to yourself, or pulling through so to speak, what is necessary to help yourself to further awaken. And that’s a magnetic energy in that the parts of ourself that need something to connect to, or to awaken, other parts of ourself that sit dormant is kind of like something that is drawing that to happen all the time.
And that drawing that to happen all the time is what the image that you are seeing, which draws something through, is all about.
Jeane: In my main dream, it seems to take place in a town that looks a little primitive, kind of like those towns you see in the middle of the Brazilian jungle where it’s kind of like dirt main streets, and older buildings built out of wood.
I’m in this town and it feels like what comes down Main Street is kind of a truck or people that come and, even if they act friendly, you kind of have the sense that they’re out to get you. And when I go with them, and even go to a factory they have, then this just proves out to be true – that they have these big trucks, and they have this factory, and they have this substance that they seem to be taking from big plants or something that’s kind of sticky.
And you just have a sense that they’re going to use you, and any other people around them, like part of a glue factory. It’s like they’re going to do you in. So I get away from them and I go into a building and I try to warn some new people that these people that are running the trucks in this factory are up to no good and not to fall for it.
And I want to prove this, and it feels like I go with a couple other people, we sneak up on one of the trucks and we follow it to where it goes into the jungle to a factory down a road and everything. And we’re sneaking around trying not to be seen by the driver, but maybe we get spotted.
And then we see another truck of these kind of bad guys coming and, as I am trying to alert the other people in the scene to what’s being done so we don’t all kind of become turned into glue or whatever, one of the women is actually just kind of dancing around the bumper, and acting like it’s all okay, and maybe she’s even aligning herself with them.
And I can’t figure out what she’s up to because I feel like we should hide or get out of there. And so the whole theme was just like trying to kind of expose what they were doing when they’re trying to act like they’re doing something okay, but they’re actually manufacturing something that would turn us all in to glue or whatever.
John: What you’re describing is where you’re at in a process of waking up. And the “being turned into glue,” so to speak, is symbolic for your synaptic inflections that are pent up as traits that have to be lived, or acted, out, which are also carried or imbedded in your nature – based upon mannerisms, conditioning, characteristics, perceptions, attitudes, values, whatever it is that you are holding on to that keep you caught in the maze of things.
And so you have a part of yourself that is at that point where you see yourself kind of overwhelmed by the collective and, therefore, in a delirium, unconscious delirium, and so the fate you see there is not a good one.
In other words, the consequences of what’s unfolding are going to lead to you becoming rendered unconscious from the little bit of consciousness that you might have to realize that this other is tearing away at things.
And then there’s the part of yourself that recognizes enough of the nuance characteristics and patterns to know that you need to live out, or portray, a Book of Life image, and act it out, to proceed – in other words to live and resolve that which has you in its clutches.
So, there’s that whole middle area of yourself that still works out the karma of things by going through the motions. And then there’s the part of yourself that seems bizarre and strange to you looking at it from your denser portions, or sides of yourself, that is able to just dance around out there and be untouched by things because it gets the joke: it can’t be turned to glue, it can’t be caused to be fearful.
And to the parts of yourself that still carry all of the heebie-jeebies, you look at this and you say, that person – what’s the matter with them? But inflectively you kind of know that this is how it should be. You should be able to just be carefree and not affected, not thrown around, not rendered this way or that way, and going this way and that way because, deep down, you do know, you’re free from that. Deep down you’re free from it all.
So it was a progressive dream of consciousness showing some very, very denser states in which everything is in those really denser states fairly hopeless because the identification is strictly and purely to the outer.
And then there’s some understanding and inkling of a flow, or an inner coming into an outer you might say to some degree, but still mostly unconscious and mostly living in a state of one’s neuroses yet – that’s the middle area.
And then there’s the portion where there’s nothing that can happen in the outer that can tear you away, or distract you, or scare you. In other words, you’re impervious to it all.
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