Megalith Menhir
The eternal or universal aspect of self emerging into consciousness. See: Rock.
Because I believe the universe has good will, out of the very force of my life, and from the stuff of mind, I create a rock in the midst of a shoreless sea. In an ocean of change and uncertainty I form an island of charm.
There was a period of time when we were not humans with self awareness. As such we were animals moved by instincts. But there was then a cross over to self awareness, and in imagination I saw what was perhaps the first of these creatures pile one rock upon another, something no animal had ever done, and this was both a mystery to those who had not reached that level called self awareness, but also a stimulus. We may then venerate or hold as of immense value such art forms. They contain in them the vast dimensions of the ungraspable, of the infinity of our own within. They stand before us as representatives of the alien in our midst, in ourselves. They remind us of what we are not masters of, and what may take hold of our life.
Then out of that ocean onto the shore of self-awareness, perhaps for moments only at first, a daring Then out of that ocean onto the shore of self-awareness, perhaps for moments only at first, a daring creature crawled and said – ‘I am’. Doing so they left a mark – footprints, two stones rolled together, scratches on a rock, a cave painting. And those creatures still in the ocean looked out upon them and wondered, until a spark was struck in them too. Perhaps struggling for a closer view they emerged and gasping also exclaimed – I am – and added another rock. So great structures gradually grew put of humans.
Our consciousness has been whittled out of the rock of possibilities by the love, the struggle and pain, the endeavour and wit of their lives. Particularly our psyche has been shaped by or modelled on our parents and the traces in their life, unknown though they may be, of their parents, backwards for many generations.
Example: I have come across a cave dug into a rocky cliff. A track sloped down from a hill or a mountain past the tunnel entrance, which was on my left. I saw a few men emerging from the tunnel. Small broken rock covered the exit to the cave forming a level surface to walk on. I knew the men had found treasure in the cave. I saw bits of gold, like chunks of rock, on the ground near the exit. I knew also that there was still a great treasure in the tunnel. Another person went in to get some of the treasure. However, I knew that to have a treasure you had to answer a question put to you by something like a Guardian of the tunnel – maybe a sphinx. The person didn’t emerge and I knew they had not been able to answer the question. But I heard the question I would be asking if I went for the treasure. It was, “What goes into everything twice?”
The man who dreamt the above dreamt explored it fully. He says of it, “What I did found was that the cave is an absence of something. It is the result of work done of clearing out, of chipping away at what was there. This led to revealing what we consider to be treasure. The treasure was there but it had not been revealed, it was part and parcel of the rock. So I am left wondering what the something is inside the cave that asks the questions of those who enter.
What I find interesting about the dream is that there are pieces of gold lying about outside the cave. So one could gather a lot of treasure simply from what is already available. There would be no need to enter the cave. But there is the promise of enormous treasure inside. It isn’t so much the wealth, but there is the impression that the treasure is not simply lumps of gold, but un-nameable things that one would find extremely valuable. I feel, as I enter more deeply into my wider awareness, that the men who came out with the treasure depict the enormous amount that I have mined from the long years of my exploring. I have in fact already gathered enormous treasure. Of course I still wonder what else there is left to find.
I am feeling that the person who went in and did not come out represents the unanswered questions that we all hold within ourselves. Those questions of course keep us still within the mine, still seeking answers and understanding. That is the part of self that continues to chip away at the rock face, knocking away the rock from the gold, uncovering more of the possibilities that were held within that solidity.
Example: I was on a beach in somewhere like Ibiza. I met Danny; I knew that I didn’t have the money like him to live a different life, so I wondered what I could do. I saw a rock mound with water running through it. I then saw that ancient peoples had carved out some more of the rock and had inserted abalone shells around the running water creating a trough. As I looked on, I suddenly realised that this was an expression of the divine and that I could live here and dedicate my life to the divine, thereby giving my life as much meaning if not more than Danny’s.
Example: Here and there in the desert were huge rock formations, a little bit like what one sees in Monument Valley in Arizona. But these rock formations were not plain or slightly coloured rock. Also they were immense. They had the appearance of massive mosaics – brightly coloured mosaics. But the mosaics did not form illustrations or patterns. However, some pieces of the mosaics were larger than others. And each piece might be in itself multicoloured and a sort of miniature pictograph.
As I looked at these massive formations I understood that they had been carved or created through events in the passage of time. Each mosaic, each part of the overall mosaic, had been formed by enormous creative acts, or by long-standing actions. So these latter were like ideograms or archetypes. So, for instance, mother creatures have cared for, fought for, died for their young. This pattern of behaviour has been so enormously potent and perhaps we can use the word successful, that it has created and shaped aspects of eternity. It has left its pattern, its artwork, on time itself. Thus eternity honours that pattern by giving it a place in the very structure of itself. No one being created such a mosaic in the formations. Such a mosaic was large and had in it the essence of all the lives that formed it. So the rock formations and the mosaics on them represented influences that will flow into the future. They were sources of power or influence that shaped the phenomenal world. They were the body under the coat so to speak.
Example: We turned left off the road. I stood on a small rise looking down into a large hollow between hills. In front of me was a colossal stone column of a design I had never before seen. It was the height of Nelson’s column in Trafalgar Square, but very much wider. On top it had a design that was so subtle and unique I cannot even recall it. This design had been carved into the solid rock. This suggests, I suppose, that this uniqueness has not been brought through to consciousness. The column seems to be of solid rock, neither natural nor man-made, but formed by some inconceivable mystery. The design at the top was alien, not in the sense of being a threat, but with a sense of otherness. The form was not natural, yet at the same time it was not man-made. Perhaps it would describe it by saying it seemed as if nature and human intelligence had somehow blended to form it. For they had the naturalness of form that an anthill or honeycomb has, where “nature” expresses herself through her insect bodies. This was in a class with these works of nature, yet more complex, showing She had used a higher order of intelligence.
Useful Questions and Hints:
Were there any designs on the rock?
Did I have any thoughts or realisation about the megalith?
What do I feel it means to me?
See Being the Person or Thing – Magical Dream Machine – Processing Dreams