The White Snake: Keeper of the Garden

(Copyright © Jack Cain 2017, text and images)

 Jack: Maybe you could just give me a bit of a report Angela. What’s taking place for you now at the beginning?

Angela: I feel and I see a spiral going downwards. And it is… the colors that came through strongest at first were a deep indigo blue and then an orange and now purples and magentas. It has the energy of a tornado and a whirlwind and it’s just kind of rocking back and forth from side to side. But it’s definitely this spiral, cyclone-like energy.

Jack: Yes, just follow the movement and be aware as well how each of those colors has a kind of reverberation inside you as you observe it. And also the spiral movement – that too has a kind of reverberation inside you. As if something corresponds inside you to both the colors and the movement. It’s good to just follow both colors and movement and see where that really is taking you or what it is that needs to happen next.

Angela: It starts to morph and it morphs into three panels. Panel one is like an insect – fly-ish but it’s not a fly – it’s an insect, an insect energy. Then it morphs into a butterfly. And then it morphs into a woman dancing and the spirals are part of her dress.

And then there’s a free-fall.

She’s jumping off a cliff or precipice into another – the word that comes to me is into this other vortex. And those colors repeat themselves. So as she jumps from the cliff, it looks like that dark indigo midnight blue and as she jumps it changes into all of those different colors. And then it looks like it goes into… her jumping starts to morph into an umbilical cord. And I’m shown the image of a pregnant belly and hands and the word “fertility” keeps coming up.

I see a pregnant woman and there are all these hands covering her breast and her stomach. But she has multiple arms. And her head seems very goat-like or ram-like – that kind of animal.

Jack: So the hands on the belly are her own hands? It’s just she has many of them, right?

Angela: No, no it feels like the hands on her belly seem like they’re from other people. And it honestly feels like a goddess worshiping of sorts – because there are people around her. It’s not a clawing. They’re not clawing at her energy. They’re not throwing her anywhere. It’s more like: Rub the Buddha belly for good luck kind of thing.

Jack: So it’s like a kind of participation?

Angela: Yes. Yes. And her arms are up. I’m still with that undulating movement, back and forth, back and forth with her arms. She’s got about eight of them; it looks like four on each side. And now her head has morphed into a falcon’s head. It feels very… and I get goose bumps in my legs when I go there… It feels very Mesopotamian or Egyptian.

Jack: Yes it does. Yes. A lot of content there. A lot of different images, different shapes. The falcon head you know has to do with seeing clearly. The ram’s head is more movement and force. Let’s just see where all that takes you.

Angela: So now I see the image of that woman’s body and it’s very pregnant. Very pregnant. We’re talking eight or nine months. Probably overdue. And I see her body being placed in water. But I still see all of these hands on her body. And on her stomach area especially. And then I actually see her giving birth in the water. The baby has a full head of hair. I can see the baby actually become bigger than the woman as the baby is born. But I can feel… So now I see just the image of the baby but I see hands holding the baby and I see the baby sucking its thumb. And it feels like a girl.

And then I see a crown being put on the baby’s head – not gold, not like a European Queen Elizabeth kind of crown but a band of… the word that comes to me is “sweetgrass” – like a braided band of sweetgrass.

And I see the baby being held. Then I see the baby being rolled, swaddled. I see it being rolled up and it’s sitting in this uterus. It’s not in a uterus but in the same way that a baby would just be floating in time and space.

Jack: OK. Floating in time and space. I see.

Angela: And now I see the baby waking up and it stretches its arms, taking its thumb out of his mouth and it opens up. It just opens up and turns into this magnificent flower. So like a blooming of sorts.

And then that turns into a garden and I get images of green, lots of flowers and rainbows everywhere. That’s the image that I’m resting with. [pause]

And then, that garden starts to divide and in the middle of that divide is this big black snake.

Jack: So there’s a space in the middle?

Angela: Yes, the space in the middle is held by this black snake. So it’s like – how do I describe it – imagine a football field full of flowers and if you cut that right down the middle the way you would a triangle there’s a snake. And it feels like a black cobra and it feels really old. It feels like a rock. It feels like it wants to be removed.

Jack: You mean like it should be somewhere else?

Angela: It feels like a heavy piece of stagnation. It wants something but I don’t know what it wants. Here’s what I hear it say. This is actually the keeper of the garden and it’s actually supposed to be a white snake like an albino cobra but something in its life force is drained. It wants to keep this garden, it wants to… It’s part of the garden but there’s not a balance with it right now

Jack: So can you help? Or can something or someone help?

Angela: Yes. I see it come closer to me. I can feel it like … oo and I hate snakes, I really do hate snakes, I do… I can feel it traveling up my arm, I can feel it traveling along my back and can feel it splitting itself and now I can see it shedding its skin and it splits in two and an image of a woman appears. And again it’s like that fertility image – what is that image of the woman in the shell?

Jack: Venus? Botticelli?

Angela: Yes, yes. That one.

So this snake has the image to split in two but then it comes back together and now it’s not black it’s grey. And when I ask it, “What do you want? What do you need?” the word that comes to me is “water.” It wants water. Water.

Yes, water. And sun.

It’s kind of gross looking right now, not really gross looking but who wants a grey snake. It’s charcoal, ashy colored. It’s gasping for breath and gasping for air. It coughs.

Jack: So it needs help right now.

Angela: Yes, yes. It wants basic things – water, food, shelter, rest. What it just asked me was, “Can you build me a house? Can you build me a place.”

Jack: A living place, a dwelling place…

Angela: Yes, yes.

And then I get the image of a goldfish. And now I’m a goldfish in water, and then I see amphibians, and frogs and tadpoles. [pause] I’m trying to see where I’m at because this is kind of jumpy.

Jack: There’s a lot going on. So just feel that there’s no need to rush. Just allow what’s going to happen. You may need to take a breath in between all these things. Breathe in and feel connected to your breathing, feel connected to your body.

Angela: So now I see the sky and the clouds. And I can see myself lying on my back. And I can feel the snake lying on its back looking up at the sky and the sky is cloudy but you can see the sun peeking through and I can see literally like a sky-god breathing in clouds and breathing them out again.

Jack: That’s nice that you’re looking up like that, both of you.

Angela: Then I hear the words, “Nature. More time in nature.” And as I say that the snake starts to turn green, like camouflage python colors. [we laugh] His way of saying, “Good answer. Good answer.”

Jack: He’s saying, “I can adapt to that.”

Angela: Yes. And then there’s just this outpouring of orange and yellow energy.

And right now I can feel my stomach… pumping if you will… I can feel that orange and yellow energy. I can feel my stomach cramping, throbbing. It’s like orange juice for the soul.

Jack: Yes, it’s energy.

Angela: I now see that snake wrapped around my arm. And it’s puffing up. And it’s white.

Jack: Ah, now it’s white.

Angela: A part of me is scared; I don’t want it to attack me.

Jack: But you don’t feel that though do you? You don’t feel that’s what it’s going to do, do you?

Angela: No, I don’t. I can feel it making moves. I can feel it on my arm. I can feel it biting. I feel it cleaning itself even though I see it with its mouth open and biting towards itself. It’s not an attack. It’s just a cleaning of sorts on the right arm.

But I just don’t like seeing a snake with his mouth wide open and wrapped around my arm!

Jack: So the snake is cleaning itself but is it also cleaning you in some way?

Angela: I think so. Because I see it coiled around. I see it going inside; I see it going outside. Whatever it’s doing it’s doing through my right arm. And I can feel this white cleansing energy coming through on my left side as the snake’s mouth opens wider or as it moves and turns. It’s like a brush. It’s showing me a brush movement. A twirling brush.

I can see little pellets of black coming out of my stomach, and out of my back, and out of my ankles and calves. And I hear, “Gotta remove all of these things that are keeping you immobile.”

Jack: Hmm. Right. Are you right handed?

Angela: Yes, I’m right handed.

Jack: Yes, so it starts there on the right side, which is your active, doing arm. Good, good. This is extremely positive.

Angela: And then I can feel it migrate just to my stomach. I can see it coil up in my stomach and in my intestines. I can feel its heat just rest and sit there. [pause]

And I can see it re-lining the inside of my stomach with its snakeskin medicine. I can literally feel and see it putting a mesh if you will on the inner part and I can see its mouth and its tongue sealing it.

Jack: So it’s really a kind of repair job.

Angela: Yes, yes.

And then I see it come out of my left leg. And now it’s just sitting in the garden asleep. Right where it should be.

Jack: So a totally renewed kind of scene now in the garden.

Angela: Yes, yes. But it does feel like it’s the keeper of that garden. This is its garden; it was just super-depleted. [pause]

Then I can see up top that sky-god if you will continuing to breathe in the clouds and breathe out the clouds. In some way, the words that I hear are, “Reconstructing the sky.”

And all of a sudden I make a connection to my eyes and I hear, “Reconstructing the outlook, reconstructing the perspective, reconstructing the vision. See through clear eyes.”

And then it’s just that beautiful sky blue with white puffy clouds. Like the textbook example. And I hear, “Rest when you need to rest.”

Jack: Yes, right.

Angela: I hear someone clap. And I see and I feel all of this dancing energy and I see this glowing… it looks like a flower but it’s a dress slash skirt that I’m to put on. And a Bible verse comes to me, of all things. “Put on the whole armor of God.” [Ephesians 6:11-18]

Now what I feel, now what I see is this Joan of Arc type energy. Because what I hear is “Reintegration.” I feel and I hear like… I want to say that it feels like this woman going back into battle but she has on the whole armor of God. That is coming through so strongly. I see her on this horse but she is glowing because she’s got on this protective armor that can’t be pierced. But I feel and I hear a real action – in the mornings put on the whole armor of God.

Jack: Right. Very clear. Very clear direction.

Angela: Yes, you have to ride into battle but put on the whole armor of God before you do. And I hear, “Call out. Call out to God when you’re on the field.”

And I see her stop and she’s drinking out of this heart-shaped chalice that has a sword attached. It’s the sacred heart – the Catholic symbol. She drinks out of that chalice if she feels tired, if she feels weak, if she feels defeated, if she feels down, that’s what she’s drinking out of. And that sacred heart is burning.

And then there’s this image of… And it’s funny – before we even started in the past few days I’ve been getting this word “bibliothèque” in French and I kept getting an image of a library that had burned down and being amongst the ashes but now that sacred heart is connecting with whatever that story was.

And there’s an image of a door – just the frame of the door – and the sacred heart and the sweetgrass crown is right there.

It’s kind of in 3-D. To the naked eye it looks like it’s just standing there in space but if I walk through that door… When I look at it, it just looks like a frame. It doesn’t look like it goes anywhere but, if I walk through it, it’s really a resting, cozy room. And I hear, “Find that inside of yourself. When you are tired you can always go to this room.” It’s like a secret room. No one else knows that it’s a room but I know that I can go there. I literally hear, “This is your gift. You call up this image and you can go to this place any time you want to go to it.”

Jack: Yes, just remember the image – that’s what you need to do. And then when you call it up you can walk through. And I think it’s important to know that the energy is unlimited there.

Angela: I literally hear someone saying, “No. For real. Take this. Take this with you. This is your gift. This is yours.” It reminds me – whoever is joking around there – you know when you go to the airport and they have those airport spas. It’s like an airport spa or oasis. [pause]

Jack: Yes, perfect.

Angela: And then it just goes kind of primitive. I see literally an ape walking me back the spiral steps. [we both laugh]

Jack: Interesting. But he’s friendly right?

Angela: Oh, yes. It really is like “Planet of the Apes” – here you go.

So I see myself ascending on a star. That spiral motif is back. And it feels like an elevator and I get to the top. And then there’s another door. And I just walk out into the light. [pause]

So of course I’m like OK what about love? [laughing]

And I get an image of a heart, a beating heart and the words, “Care for your heart.” Like find someone who will care for your heart. And you care for your heart. And there’s lots of pinks and lots of oranges there too. And there’s a purple. [pause]

Jack: Beautiful.

Angela: And I feel it out of reach or like a heart on a pedestal. But it doesn’t feel in a bad way. I do hear, “Sometimes you’re hard to reach.”

Jack: Ah!

Angela: And I see my little octopus energy bobbing around here.

Jack: So what do you need to do when you’re hard to reach?

Angela: Let me see. The expression that I hear is “Come down.” And I see… I keep seeing this damn octopus floating… We got him out of the way. We don’t need you right now, thank you.

So now there’s just blue space. Really pretty blue, violet, periwinkle space. [sigh]

I’m a little stuck on this one: hard to reach. [pause] [sigh]

I’m getting a lot of sea animal energy. So here’s the image. And all of a sudden I feel tears coming. It’s like if you’ve ever watched “Blue Planet” or National Geographic and they do those – we’re going to focus on the ocean and they go around to the bottom of the sea and there all these beautiful anemones and these beautiful sea flowers. But as soon as someone or something gets close to them they close up and burrow down. And that’s what’s happening…

Jack: Yes. Inside you?

Angela: Yes, yes. It’s lush. People can see… oh my goodness this is beautiful.

Here’s what I come off as. I come off as deep. I come off as mysterious – like a woman of depth. A woman of mystery. Here comes my octopus again. A woman of intuition – very feminine. A lot of war energy. So that’s what’s coming across. And then I see a yellow sunflower on the left side popping in.

And really I hear that the work has to be done. You have to force yourself to stay open. And then I see the octopus tentacles in agreement. Yes. Yes. That’s it. When you think about the octopus, the octopus flows. It goes with the flow; the octopus floats.

And it knows when it needs to get away – thank you for the octopus energy – it can get the hell out of places real quick. [laughter] And it can even ink people if need be. But the octopus also knows how to fit in and it knows when to go. And if you think about octopus energy it’s very rubbery – it’s not stiff. So don’t stiffen up like the flowers. Use that fluidity to stay open.

Jack: Yes. Good. It’s hard to think of a more flexible animal.

Angela: Yes, yes. And we said your assistance wasn’t needed. Huh! [laughter]

Jack: Yes, that’s the trouble with looking at appearances or making too quick a decision.

Angela: Yes, I’m getting that and I’m seeing it nod in agreement. “You don’t have to make quite such a quick size up.” Again it’s really like… stay open, stay flexible.

And then I see… because I think the big fear for me is sharks – not in real life but a breed of men who are sharks. I have definitely attracted a lot of sharks in the past.

What I’m seeing and what I’m hearing is, every time those sharks pass by you don’t have to hide; you can stay out. You know it’s a shark but you don’t have to be with the shark.

And then above the shark I see a whale and God do I love whales.

Jack: Exactly. Look above. And also you still have that armor.

Angela: Yes, yes. That has not gone anywhere.

Jack: So there is a protection.

Angela: And I don’t have to tame or entice the shark.

Jack: Right.

Angela: I get this image of a mermaid. I feel like I can be that mermaid and the sharks won’t bother me. I don’t have to hide. There’s a lot of hide energy in this scene. I don’t have to run and hide even amongst the sharks. I see myself dancing with the sharks. There’s a seduction there I can use. I get it. I get it in my soul level. The old me would dance with sharks and then try to improve the shark. This new version of me will dance with the shark but will let the shark be just that. Then I see myself shooting up to the higher part with the whale.

I get what it means energetically. I’m trying to transfer it to words. I can dance and play with the shark but I don’t have to be with the shark. I don’t have to pair up with the shark. I’m a whale rider.

Jack: Right.

Angela: And now we’re back at the birth energy. The woman is pushing again, pushing the baby out.

Again she’s in the water. There are flowers everywhere. And this time the baby is a boy. And then that earlier baby from before and this baby kind of team up and join hands. Like all types embryonic. [giggle]

Jack: And you have both the masculine and feminine.

Angela: And it’s shaping itself into a yin and a yang. So one baby is on the yin and the other baby is on the yang. And they’re making that symbol of balance. And I can feel that going into my solar plexus. And then I see a starfish and a sea spider sealing in my stomach as well. And then I see one of those sand dollars. God this is amazing!

And then I see a whale’s tail. And then I see that mermaid playing with the whale, pairing with the whale.

Jack: Does the sand dollar have anything to do with your concern about money?

Angela: Hmm. Maybe. But it’s coming really easily. I see the mermaid surrounded by money. I see it as part of the dance. I feel it in her hand. I can see an image of her feeling a lot of ease around it.

And I can feel the octopus stroking her head. And she’s nestled in the fin of the whale. [pause]

Jack: Wow. Important connection to the whales.

Angela: Yes, because I feel them – I feel them even when… at night I can feel a certain pod moving through different parts of the ocean – it’s amazing.

Jack: Wow!

Angela: And there we go; it’s done. It’s rest now.

Jack: Yes, maybe rest is the best thing now. There’s so much that you’ve been shown!

Angela: Yes.

The image that comes is that the mermaid turns into this little white pearl and the pearl goes into the clam and then the clam just rests.

Jack: Yes, just rests. So the pearl is there. The whole session is like a pearl really. You can look into it. It has a depth. It has all kinds of detail. It’s really something to go over and over.

I think we need to end soon. Maybe just go back to the spirals at the beginning or maybe something else – whatever feels right to you.

Angela: What I feel and what I see is this image of sorting. Like having a pile of stuff and saying, “This fits. This doesn’t fit. This fits. This doesn’t fit. This fits. This doesn’t fit…” And then literally walking up those stairs again… not even walking but… that spiral now is like a yellow star just shooting me back up and…

Now I’m ready to rock.

Other posts in this series: Ritual is Just a Doorway, Cempazúchitl (Marigolds), Toe Holds and Alligators

About trylus

Welcome to my blog! I was born in the year of the golden dragon (1940) and when the golden dragon year came around again in 2000, little did I know that events would conspire to have me reinvent myself. So after a long career in computers and libraries and languages and with a few bumps of transition I now feel very alive in the practice of hypnotherapy and an energy modality called Reconnective Healing®. My interest in writing has always been in the mystery of how it is sometimes possible to convey much more than the meaning of the words. It is my heartfelt wish to have that happen sometimes in this blog. Jack Cain Trylus énergétique Montréal www.trylus.com jack@trylus.com
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2 Responses to The White Snake: Keeper of the Garden

  1. c.harrison says:

    Makes me think of:

    1 – Once I had a memory-impression of a spontaneous procession in timeless Egypt led by at least two priestesses. This parade came after a particularly intense, magical ritual of season in the temple, and the energy-result was now taken out into the street to “offer.”

    People in the street recognized this opportunity to feast upon and harvest free impressions as they smelled the heavy incense the priestesses burned on their heads. They moved and danced and sang like a magnetized serpent through the city streets. The fragrance of strong white flowers filled the air. This was a free-ride of higher impressions, full of a level of associations, each person’s experience completely individual, made possible by the rituals of priestesses. This was not an altogether unusual occurrence apparently, but sacred and cherished.

    2 – Once I promised a wise man the gift of a dream I would make for him in which I would speak to him in rhyme.

    This was the dream we shared:
    I entered his sleep one night soon after, and wordlessly informed him that he could have any dream-wish, or witness how I could become anything he requested, such as an ocean or a river or a circle of birch trees —- anything, but that it would cost the universe a high price. He wasn’t interested in “tricks.” He held fast to my promise (in waking time) to speak to him in rhyme in a dream of my making. I said, “Well, then ask me any question and I will answer it.” He asked me why there was no male counterpart for me. I said, “There is no man who can, at once, see
    The maid of the crone
    And the crone of the maid, and
    Adore as father, son and lover free.”

    In the first example I’ve given, free giving and receiving energy originates action, an influence. In the second, there is deliberate use or application of sub-conscious content. Two different movements entirely. It interests me how energy moves through form, becoming content or materializations. And, then, the relationships TO imagery and the living symbolism carried in each detail of the flood of material, and the millions of nuances each detail is “pregnant” with, forming “letters of an alphabet of expression.”

    For example, a white serpent, a black serpent or red serpent are all utterly singular things, and requiring very different contexts, such as, then, whether they are in the earth or flying or biting or part of a garden or half-hidden. Such sensitivity of meaning!

    As you “coach,” the viewer needs to deeply, deeply take in each detail, I think; really be open, maybe not stopped at the moment —- that could retard or injure the progression —- but, for the later process of recapitulation, nearly as important as the issuance. I’m sure you are seeing there are overwhelming volumes of directive and unexplored centre activity contained in details. OR, WHAT IS IT?

    What an incredible process: to actually witness how something works through our multi-layered banks of sensory impressions to speak a unique language —- and a universal one, also. WHERE does it come from? An ocean of awareness of the knowledge of awareness!

  2. Ellen Alice Middleton says:

    Octopus energy again!

    wow

    Allie

    >

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