If you will remember, The Soul Plan is that map or matrix of potentialities, possibilities, and probabilities that have been given energy by the Monad and its team of 'actors,' guides, and counsellors for the expressed purpose of inciting growth experiences in particular pre-ordained themes and issues. The desired goal in the creation of the Soul Plan is for growth in Self-discovery, Self-awareness and Self-realization.
The Soul (or "Causal Body" as I sometimes call it) is a temporary template of information which tries to give light and power to certain "test items" that the Monad and its team have put into "the program" for this incarnation. The synchronous event occurs when certain information and experiences appear that seem too appropriate to be coincidental because they seem to be exactly what that particular individual requires (or would most desire) in order to make its next leap in expanded awareness and growth.
My impetus for the creation of this blog entry came from a particular synchronous event that just occurred in my own life. It is an event that has proved quite provocative for my personal growth as it has helped me to assess and learn about my progress on several issues that I had been working with for a long time. It is my belief that the appearance of this provocative information occurred precisely as a result of the energy coming from The Plan that Journeyman Paul and his Team put in place before he decided to invest his Spiritual energy into the Drew Fisher experience.
For a few months now I've been aware of and attracted to a film by Josh Radnor entitled Liberal Arts. Described as "a coming of age story involving an unlikely romance," it is about "a ... 35-year-old [named] Jesse [who returns to] his college alma mater [to honor a retiring professor who was once his mentor], where he's blindsided by nostalgia and a plucky sophomore named Zibby." I was initially attracted to this film by two main themes which had recurred in my own life: that of romantic feelings for people years younger than me and the other of the nostalgia of "the good old days at college." I have dealt with both themes quite thoroughly through my writing (Forbidden Love and Chartres blues, respectively) and had, I thought, quite adequately expunged my soul and psyche of these themes. Yet, I was curious to see how someone else had chosen to deal with these same themes in their own life, in their own way.
When I finally watched the film this week, I was fascinated to see how much of the film's themes, scenery, and emotional content felt familiar. And I am grateful for the synchronous gems of some other themes that I encountered which I had not expected. One of these unexpected gems, in particular, revolves around an ongoing discussion I've had with peers and age mates with regards to the all-too common feeling that in our minds we still think of ourselves as young. For me I've constantly felt, mentally, that I am still 20 years old. 20 was the "magical" age at which the world of possibilities was so large and exciting: so many people to meet, career choices to choose from, courses to take, books to read, concerts and other events to attend, places to travel to. And, of course, at age 20 it seems that every person out there is among the billions in the running for serious (and frivolous) romantic relationship. At 20 you possess youthful vigor, elasticity, and a sense of invincibility. It is truly the 'prime' of human life.
In Liberal Arts the protagonist's mentor professor, now in his 60s, confesses that he has passed his entire life thinking that he is still 19 years old--that everything, and everyone was a possibility. The jewel of wisdom he adds is that he has had the mental maturity and discipline to keep it his youthful alter ego in check. That reaffirms a feeling that I've come up with: that it is the wisdom and control coming from Higher Mind that keeps us from doing things that the Ego/Personality would have us do--and that this is only made possible by becoming open to the Inner Voice of Wisdom and from pursuing a relationship with and dedication to that Voice.
Relationship is a tool we co-created. It is a cornerstone of duality and, therefore, of Cosmic Creation. Relationship is based on the Illusion of Separation. In order to best use relationship as an experiential and growth tool we must buy into a belief system in which all things appear Separate from their Divine Source and, therefore, must be separate from one another. We created relationship with "other people" and "other things" that are supposedly outside ourselves in order to be able to find and see our selves from an outside perspective! These "things" that are supposedly "outside" of our Selves are really just reflective tools--mirrors. They are meant to be used for us to see our selves from another, a different, perspective. They can also serve to help remind us that these bodies and senses that we're using are temporary, they're just vehicles, and that these infinite numbers of "outside" perspectives could serve us just as well. Journeyman Paul could just as easily be using that body or that person or that nationality or that point in time for my vehicle, as my base for conscious learning. Journeyman Paul just happened to choose--and continues to choose--this "Drew Fisher" point of view as his experiential gathering point.
Some of us are better at using the relationship tool than others. Relationships with film, books and other art forms help nourish and feed our internal dialogues, but they are still "outside" triggers for awareness and reflection. Some of us have very active and healthy relationships with or "within" our selves--and with our imaginations. In our own creative acts we can observe still more. But it is through interpersonal relationships that we humans seem to place a lot of emphasis and import--which is natural, as interpersonal relationships provoke tremendous emotional responses and confront us with many of our most demanding mental challenges. The fun in interpersonal relationships lies in the sparring match that occurs between two individuated Sparks of the Divine, each of whom has invested their energies and attentions into the Game of Illusions within the context of the human experience.
But, let me remind you: Every time we think we are falling in love with another person we are really just finding comfort, solace, and affirmation of the value and viability of a part of our selves--often a part that we thought was weird or different or unlikable or unworthy of being accepted or loved. That is why the initial phases of relationship--of "falling in love"--are blissful and high: you are enjoying the validation of your own self. It is when the relating begins to reveal parts of your self that you are not so pleased with--usually because they are undeveloped and/or have remained hidden or you have been in denial of them--that is when a relationship starts to "go sour."
The key is to approach any and every relationship--whether it be with a book, a movie, a work of art, a house, a job, or a person--as if that thing is the same kind of receptacle and vehicle of all that is possible of life's infinite possibilities that you are. Every single thing is equally a reflection and source of infinite Beauty (and its opposite, if you so choose to see these), of infinite Truth (and its opposite, if you so choose to empower and label it as such), of infinite Joy (and its opposite if you are so disposed to see it that way), and of infinite Love.
Though I often go about my day unconsciously thinking and feeling that I am 20 years old--which is a wonderful, liberating place to come from--I am now wise enough to realize that the vehicle I occupy is offering me new and wonderful lessons through its limitations, through its deterioration. The lenses of opportunity are just as wide and open if one choose to change the focus and/or direction a little. The human body is also a vehicle for deep relationship with ones self and ones Self. There are myriad tools in the Earth School experience to use for gaining greater awareness of one's true self, one's Divine Nature, one's connection to everything within the Oneness of all things. There are also wonderfully entertaining occasions which allow us insights into the Illusions that we are using while in the Creation duality. Learning to use the Illusions in the ways we want to use them instead of letting it seem as if we are being used by them can be quite enjoyable--as well as empowering.
The other theme from Liberal Arts that is of particular interest to me deals with my struggle to comprehend why "high art"--or, rather, the art we often extoll the most in our Western society--seems to come from those blessed with both leisure and privilege. Is art really only available from affluence and ease? I've heard praised the merits of art that comes from oppressed societies or from "tortured souls" and yet where do these people find the time and resources to create their art? Music, painting, sculpture, writing, film-making, fashion, even architecture, home decoration and landscaping seem to all be directly related to class and privilege.
In Liberal Arts, a professor of classic literature whom the protagonist quite reveres serves as the mouthpiece for a theory that these rich white men (the British Romantics) had the fortune of privilege--of having the time and luxury of materials to use to write down their thoughts at or just after particularly high moments of transcendent experience. This theory implies, of course, that all humans experience the occasion of these moments of "transcendence"--which will here posit are encounters with their own Voices from the Spirit World--which then means that were we all to be so blessed with materials and time, we could all be creating such "high art." I also posit that we all are in fact creating "art" and "artistic" works in our own personal, "artful" ways at every moment of every day--whether it be in movement (like dance and/or athletics), language (like speech and writing), food prep, song , appearance (fashion), caring (charity), or whatever work you pursue. Because any act is a creative act--is an act of bringing something into the world where "it" did not before exist--we are all creators and, therefore, all artists. "High art" is merely the preserved form of an expression of creativity to which we can all identify and see our selves. Most of our personal creativity is, unfortunately, not able to be preserved in an art form because it is utilitarian and serves the perceived needs of our selves, our families, or our communities.
Creativity and creation are as natural, effortless--and unavoidable--to us as is breathing or thinking. We do it because of who we are, of where we come from, of where we derive our energy and force. Synchronicity is the creative way that our Higher Self plants stimuli into the four dimensional playing field for our Ego/Personality to notice--for the Ego to be humbled by reminders of its true origin, its Divine Source.
It is a wondrous thing to be aware of the occasion of the appearance of synchronous events. I now see almost every event, every thing, every encounter for what it is: my Soul's attraction or co-creation of a piece of information that will help me with the continued reminder of and rejoinder to my own inner Beauty, Truth, Joy, and Love, of my own Inner Divine. I hope that you, too, are feeling the Joy and liberating effect of a return to awareness of your Creative Power, your Divine Wisdom, your Higher Understanding.
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