Jeane: In listening to your analysis yesterday (see The Show Must Go On), I would say that there was a moment when I was on stage that I did feel paralyzed by fear. I didn’t think I could move because I was so frightened of falling off the stage, but then that shifted to its exact opposite and I could move up and down freely.
I do remember another scene from that dream where it felt like I was walking through an area and a young man – who looked a lot like you – was talking. As I pass by he uses a word I’ve never heard before, so I give him a look. He realizes I don’t know what the word means so he explains it.
It’s another term for an engineer or something. I say to him, “Don’t give me a hard time because I don’t know the word.” I’m teasing him about it and I can tell by the expression in his eyes that he gets the joke of it. He just needs to explain the word to me and it’s fine.
John: So, basically what you’re showing is that you have the subjective knowing that’s in your nature if you just live something naturally, as you did with your freedom on the stage. This image shows that you don’t have to make distinctions about this or that like the masculine (the young man in the image) wants to do (and can tend to turn into a big deal).
In the true simplicity of life it doesn’t amount to anything, and if things are taken in subjectively you can know what they mean on an intuitive level. The big word (or the big to-do) over something is not important. Maybe it takes you a bit by surprise when there’s the big to-do or a new word, but deep down in a subjective way you know what’s real and what it is.
Jeane: In the last dream I had right before I woke up, I was observing you sending these little miniature logs, like big cigars, out into the world. I’m observing that or talking with you about it.
John: What are the logs supposed to do?
Jeane: I don’t know. I didn’t get much information on that.
John: It sounds like the logs stand for something, representing a pattern or a mannerism or an expression. At times this sort of thing occurs, because a log can be seen as a seed thought. In the schematics of your knowing, do you really need the details of what that is?
Somehow I think you know that you’re already there. You don’t need the fine print. You can see it all happening as inflections, imprints, or seedlings that go spiraling outward. Yet just because they spiral out like an out-breath (in terms of the masculine), it doesn’t mean they’ll be carried in on the in-breath (feminine) as a completely different thing. You don’t have two things going on.
You only have one thing going on in the in-breath and the out-breath, and that can sit in the wholeness of you and feel comfortable. Your process of flow has you going forward and appreciating, or reporting on, how something just naturally unfolds.
To look at it one could see that you’ve allowed something from the past (the dress energy), or you’ve allowed something from the greater expanse of you, to become part of the equation. That changed how things could naturally unfold. So in the first fragment – with the stealing of the wine glasses – you resisted your instinct to stop the woman.
This second fragment with the girl band was an answer, where you adopted, or updated, an older energy into you and that gave you the naturalness to flow with the high concert stage – you could easily jump on and off without fear.
In a dream, there’s a tendency to pull from wounds or impressions imbedded in our psyches that are habitual in the way we react to the world. And your answer to that is to look at how much more can happen if you just take on a greater quality as part of yourself, which in this case relates back to your connection to your mother (feminine) or her dress (older energy).
You don’t have to fight every little thing. There are these other levels in you and, as you take them on, they can make all the difference in the world. It all started with the dress and then the dress went to a greater space in terms of the concert where you were able to take everything in and experience it and appreciate it. All of this is a consequence of you being shown that there’s something greater, that most people veil or resist, and that can be a part of a different natural flow.
When you truly carry that, embody that, and know that, you give that to all of life. This idea that the feminine gives something to the masculine – this is an example of how that works. You get on the bus with the guys in the back and you learn to hold a greater spaciousness.
When you learn your naturalness it connects you to the fact that you can be in a deeper part of yourself and you don’t have to be in the shallows with everyone else. That’s why it’s said that as you become more conscious, how you appreciate and relate to the world changes. You can see how others might be holding onto an old energy – as a neurosis – that you’ve already let go.
So you can go up on stage. You can get on a bus and not have the environment affect you. It’s subjective because you just report how it is. You’ve learned to wear something more of yourself and incorporate it into the greater whole.