Posts Tagged ‘using magic in a dream’

Little Nightmares_20170707234528Okay, we can admit it: it is absolutely a battleground going on in us as we seek to let go of the personal and embrace the universal. It is the known trying to let go into the unknown. This is fundamental to our journey, and the resistance comes because we learned the truth later in life (as a rule), because if we were taught properly as children this process would be much more natural – because it is natural to our design. That’s why it has to be a conscious journey; we won’t get anywhere by luck, or accident. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In this next dream I seem to be in a building. There’s a man in Middle Eastern robes to one side in the room that we’re in, and he has a daughter about 7 or 8. And I’m in another part of the room and I’m interacting with her sometimes, and I can tell that he disapproves of this, and it’s like I want to get her to come and play, or interact, with us, but I can feel his disapproval because it’s like he doesn’t particularly want her mixing with what’s modern.

And it feels like I’ve also been playing with magic – in this dream, and with the girl. As I go out from the room, however, I discover that we’re under attack by other people and we have to fight them off sometimes using magic and martial arts.

When I go back to the room, because we’re now under assault, it’s like this Middle Eastern man wants to show that he’s resolved with me so it’s like he suddenly drops his robe and he starts dancing with me doing a little Irish jig to show his daughter, I think, that we’re all together now. But, meanwhile, we have to flee a bit because we are being assaulted by all these people from elsewhere.

At first I try to hide myself. I even like run across a rooftop, and I run into a building that’s hidden by a skylight on the rooftop, but one of these invaders who look kind of Mongol-like, you know, sees me and comes up and busts into that room. So all of us eventually end up in a ground-room floor.

And when the invaders come in and surround us, initially we start moving around the room as though we’re harmless. You know, I have a fan and I might use that fan to just fan myself, or dance, or twirl, but in a way, on another level, we’re kind of consolidating ourselves all together, and we’re drawing all the invaders into one room, and giving them a chance to see if they will just back off.

But, you know, they just think they’ve kind of got an easy slaughter here now. So when we see that they haven’t changed their minds we lock the doors of the room, and then we kind of bring out our magic, like what was my fan becomes like a fan with swords on it. And then we proceed to really fight where we had just been dancing around before, you know, to use our magic, then, as well as our fighting ability.

John: So what you’re describing is kind of a whiplash scenario. How you develop a whiplash scenario is if you’re contending with energetics, in terms of inner and outer, and outer and inner, in which there’s kind of a battle between those forces, in which there has been the contractive forces that seem to dominate in the big picture of things.

It seems, however, that you have been observing how to go and contend with this in kind of a simpler way inside of yourself. That’s what I mean by a whiplash scenario, in that you go up to a particular point, then you fall back. And so, initially, it’s like you can expand, and then contract back, then expand even more and then contract even more, things like that, until you can finally break the bubble of the effect.

So, in the first aspect of the dream, you have the part, the little girl, that is something that can open up in a particular way. And that opening up is contradictory to the environmental influence that is upon her, that’s placed upon her. And so you’re working more naturally because you’re working with the feminine principle and with a daughter. You’re working with something that runs almost counter then, to a misguided, or misaligned masculine aspect of the father of this girl, as the dream portrays, that has other ideas in how it is that she’s to be brought up.

So, as that opens up, what that opens up to is that then causes you to confront something even bigger in the collective. When you confront that even bigger in the collective, those domineering forces come out at you in a way that are inclined to try to crush you back even further.

In other words, the initial scenario you kind of energetically zip through, so now you’re hit with a bigger kahuna to kind of try to push you back again. And this time when you’re pushed back into the room, or the inside of yourself, something has taken place in which because there’s a connectivity of things something has taken place in which the guy, the father, has seen something, has got something, has recognized something. Apparently he’s come to appreciate something in terms of how he has observed the daughter, or however you’d say that, because he is no longer opposing you.

And so that gives you an infusion of energy, as a base, that was needed. You know, in other words, you can’t operate in a vacuum or otherwise you’re just whiplashing back and forth. So then when the intruders come into the building, the hope is that they will see, or recognize, or get it in terms of the quality of the energetic being in a state of submissive innocence. Total innocence is total power.

Total innocence creates the mirroring by which something that is out of balance in a denseness is able to see it. It actually absorbs that which is out of balance. It won’t absorb it if it’s all reactive, but it will absorb it if one goes into a certain depth, or heart, of themselves, and is able to hold a quietness, or an innocence. And so that’s what you do, and then that enables you, then, as that other gets weakened, then to rise up and effectuate a change.

So, the schematic of the dreaming, is inner into outer, except what you did is you made a little bit of a battleground out of it all. In other words, first of all you had a part of yourself make a transitioning. In other words, it was the part of yourself in the first dream in which you were looking to expect to see something that would be sitting in a reflective zone, and it was no longer in the reflective zone. It had recognized something and had moved on, and had reached a deeper state – in terms of having realized something more than just the outer. It also had married, or found the inner.

And that is repeated, in the second dream, with regards to the daughter and the father. The father then makes the transition to where he is no longer an obstacle, or a force, that counters something. He becomes somehow, where he had been devil advocating what was happening and questioning and challenging it and being resistant, he becomes something that supports it.

Now, in both dreams, it’s not apparent that he supports it overtly, but he supports it energetically. And in the first dream this is a matter of opening something up as a portrayal of inner into the outer. In the second dream the opening up is by way of the letting go again; and what are you letting go? You’re letting go of the sense identification that is normally associated with reacting to things as they happen in the outer.

And when you react to things that happen in the outer, you empower the outer and you weaken yourself. And when you do that, you get personal, and you shrink. But what you did in the second dream is you didn’t empower the outer, you went innocent, subjective in your nature, so that you didn’t portend any barriers for that which is a misaligned and overly-directed force of outer mannerism. You pulled the plug so that you weren’t conducive to that outer mannerism. In other words, you weren’t letting that outer mannerism dominate, and throw you around, and cause you to react and, as a consequence, you disempowered that as that kind of illusion from working.

So the magic that you did was actually the real use of energy, and not the wrongful use of energy that occurs when what is purported is reflection. In other words, the personal, the degree to which one reacts in a personal way, is a reaction that involves the use of the outer senses in a personal way. And you have to transcend the outer senses, or the noodling around in the outer, which leads to those defense mechanisms, and adhere to something of an inner depth. When you adhere to something as an inner depth that’s the natural transformation, that’s the way that things actually naturally always work.

And I suppose, to the outer, that is used to gauging everything based upon reflection, that would appear to be magic. But the idea of magic would be the goofy concocted notion that you can actually take a reflection of something and make it dance into something that is real. It never has. It’s not an outer speaking to the inner. It’s an inner coming through and flowing through the outer, and the outer always responds reflectively.

And that a human being gets lost in the outer because they relate to the outer through their five senses – as opposed to a type of depth inside of themselves that can come to know the inner flow – because it’s that inner flow that is what is real. And because you identify with that inner, which is real, and are able to absorb, or absolve, or diminish the effect of the outer projection as it comes to try to usurp the inner.

If the outer comes and it dominates in terms of its appearance, and its ways, and its mannerisms, it will dominate only because you give it credence by acting reflectively, and defensively, and in a personal motif; that is what perpetuates the illusion. But when you are subjective and know how to hold the space of an overallness, in terms of a vibration that is coming through life in a destined, or preordained, way, and that it’s not of a reflective collective conditioning of the senses, when you relate to that, that, then supplants or shifts you outside of the realm of a limited, personal, physical existence.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: An Inner Depth

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54nosIn Jeane’s final dream (see Back to the Flow) she is attacked by Dracula and his zombie-like followers. Which is good news in the dream world, because we can see that she doesn’t run from her attackers, instead she stands her ground and, with the help of the masculine, defends herself from her attackers. As John notes, even when we make the connections that get us into the flow of life, we will always be confronted with the dead (zombie) aspects that try to throw us off on a personal tangent – disconnected from the flow. Fortunately, our defenses become stronger and stronger. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In the next dream, it’s like I’ve gone to this cabin with a young woman friend of mine, and I’m setting the cabin up to use magic. And there’s even a device that you plug into the wall – it’s kind of very thin and has a certain pattern to it that will magnify the energy of magic – but, as we’re setting up and stuff, that young man that was in the other dream and some of his buddies come in the cabin.

They’re really up to no good. I feel like they even are going to assault us or something. On the other hand, they have a couple of disadvantages, one of which is they don’t know that we can do magic – and I don’t want them to stumble and do things that actually magnify that. But also I don’t seem to really see them as bad guys, but I do feel like I have to handle the situation.

Well, in the process of that, of course, this is kind of this dancing around the room and kind of shifting things, myself with the other woman or even this thing that magnifies the magic such that as you keep this dance going and things it’s like they don’t quite get on with any intent that they had that wasn’t good. But then the problem that emerges is I suddenly see down to this next level and the really bad guys have arrived.

And the really head bad guy looks kind of like Dracula but with an orange cape, and he’s bent over actually the body of a woman I think is dressed in red. And then lined up to come into the place are a whole bunch of minions of his, that just are kind of like soulless, I mean they’re zombie-like.

Now I have to get really focused because these guys have to be stopped. But when I try to first stop him and he starts coming up the wall, because he’s on a level below, at me it’s like I’m able to use my hand to direct some kind of energy that knocks him down at first, but then he gets back up. And I realize in order to really stop him I have to use magic that the young man has but he doesn’t know he has.

I have to put my hand over his and then when we direct the energy we kind of really vaporize the Dracula. And then I do something that cuts off the head of the first person on the line, of that kind of soulless line, because that will make them all go away.

So it accomplishes the goal, but then it wakes the person that had come in to magic they didn’t know they had – but that was just how it had to be done.

John: In the final image you have caught up with things so that, based upon what is flowing around you, have an insight or perspective in terms of the whole. And, as a consequence, you’re not now affected or noodled by distractions that compromise this kind of sense of body clarity.

In other words, you’ve gotten the input, or connected to the input, of what is coming into life from the masculine perspective. You have the physical embodiment of yourself in a state of balance again. And so, when it’s like that, you carry a power about yourself that lends itself to being able to do magic or, in other words, to change, or shape, or direct something in terms of how it unfolds – to know that that is the best way of proceeding, or the best way something should be.

However, there’s still going to be things that act up around you, or that cause agitation, or counterbalance that quality of a flow. But they counterbalance it only because there are certain focused clarity ideas that are awry, that don’t necessarily comport or fit with the designed flow.

And that is an image that shows the degree to which you are still reactive towards things in terms of the masculine that you have to deal with in some fashion, only this time it is showing you that you are able to just contend with that in terms of how it is, and it’s not going to affect the way that you have pulled yourself together in an overall context.

In other words, what you’ve done is you’ve gone from initial set of dreaming in which you have cut yourself off and therefore can’t find what is taking place as far as a flow goes, and seem to be left in kind of an emptiness or vacuum in which not much is going on. And that is not in character with how you’re meant to be.

Then you proceed into kind of a middle zone in which what is going on is affected by the input of things coming in that create a counterbalance that kind of mixes things up to such a degree that it’s hard to maintain a sense of knowingness through this because, even though it awakens a flow to some degree, it will also, with the inflection of what is awoken, there is a vibratory imbalance that is fairly disconcerting that can get in the way and obliterate the overall flow understanding that you’re meant to be able to naturally maintain.

In the third dream, you get a moment of reprieve where you recognize the input as it’s coming in and enough of it comes in that coincides with a connection that you have in terms of yourself so that you immediately know what can take place, and what can be done, and how to do it, in terms of rearranging, or adjusting, or shaping something in the outer.

And to do that is deemed magic because you are working with characteristics in the outer that, in one way of looking at it, when you’re disconcerted from it, is veils of illusion, but when you are in touch with the flow coming through and inside of you from somewhere else, those so-called outer images or reflections can be utilized or played with accordingly because you are able to comport everything to that inner flow.

Also in that image, however, is even though you got back on track and you have this whole sense that you’re able to sustain and maintain, that there is always going to be something, in the outer, that tends to compromise, question, or challenge this way of being, in terms of yourself.

But you have awakened and embodied enough of the flow connection of the clarity and the subjective spatial overallness of yourself that that sort of thing kind of bounces around, but doesn’t divert you off of the prime objective of how you are able to live and carry yourself.

See how that was? That’s quite a dream.

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