Dreamcatcher: On the 14th Level

On the 14th Level

I only remember standing in a room and becoming lucid. I saw a woman in front of me, who reminded me of the artist Allison Grey. Her back was towards me, I stepped forward and grabbed her upper left arm. She turned towards me, and I said, "Who are you?"

She said, "I think you mean to say HOW are you."

I answered, "No, I mean to say WHO are you. Please identify yourself."

She answered, "NO, you mean to say HOW are you. As in HOW do you exist. And I say that I am on the 14th level of existence, you are on the first. You would not understand WHO I am."

Then she pushed me out of lucidity and I woke up. I searched the internet for information on the 14th level of existence, and I found some information in "Paths to the divine: ancient and Indian" By George McLean, Vensus A. George

Apparently the 14th level is the Level of the Siddha, the highest state of existence. Free from Karma. The first level is the Level of Falsity. Fully detached from truth and controlled by Karma.

OUCH

The Dictionary of Symbols

This is a term which refers to that aspect of the symbolism of space
which is concerned with the simple moral pattern deriving from the notions of
height and—ultimately—of centre. Hindu doctrine describes the three fundamental states of the human spirit as sattva, which is ‘loftiness’ of spirit; rajas—
manifestation, struggle and dynamism; and tamas, or obscurity and brute instinct; and these three states are located on three vertical levels. Strictly speaking,
there are five zones or levels: the absolute low level and the absolute high level,
plus the central area divided into three zones merging into each other and at the same time bringing the outer extremes into progressive relationship. When the
baser levels concern not the intellectual but the moral—which is in essence infinitely more complex and mysterious—then the precise significance of the symbolism is not nearly so hard-and-fast. There is always the possibility of symbolic
Inversion, in which case the two opposing directions have something in common
in that both partake of the idea of depth. Hence the saying: ‘Deep calls to deep.’
The temptations endured by the chosen few find their counterpart in the abysses
of salvation which may be opened up for the reprobate. Dostoievski has spoken
eloquently about this. Finally, here is a quotation from L’Art chinois by M.
Paléologue, written in 1888: ‘Under the Chinese Chou dynasty (11th century
B.C.), the dead of the lower classes were buried in the plains; princes, on hills of
moderate height; and emperors in tombs built on a mountain-top. The head of the
corpse would be turned to face North.’ In virtually every work of art whose
composition is of an ideological rather than a naturalistic character, the verticalline locates the Three Worlds of the infernal, terrestrial (with its own, internal
orders—the marine, the animal and the human) and celestial. Thus, in the
Mesopotamian stele (or Kudurru), the illustrations are arranged on several levels,
divided off by lines to suggest their relative values: the most primitive beings are
placed at the lowest level (since they are closest to the ‘primordial monster’)
while astral bodies and symbols of the godhead are situated on the highest plane.
The same principles are true of Romanesque art.