Jeane finds herself, in this dream, restless at waiting for a signal to proceed from the male figures. As John points out, this aspect of the feminine, having a desire to continually do, can often cut the feminine off from the message that is meant to come through. There is a waiting process required to get the signal, which comes from somewhere else, and causes a quickening that the feminine can then bring through. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: I had about three dreams that run together, and the first two I’m not sure exactly which one comes first but it feels like I live somewhere like India or the Orient.
In the household the women go down into a certain room and they maybe prepare something. It comes in a square and it has to do with the color of blue eye makeup, or a type of eye makeup, and maybe it has some cloth in it, too.
It’s just a square or something they set on the floor, but the way it correlates is it feels like at some point, if the men select this, or indicate that you can put your eye makeup on or whatever, then it’s like you’re selected by the male of the household – like maybe that’s what makes a mating, or when you’re married, or allowed to have children or whatever.
It’s some sort of selection that occurs at that point, but you have to wait until the men make that selection. And it feels like the men are kind of holding back from that. And so the women feel a certain restlessness, or they decide they’ll go out to the nightclub with each other, or sometimes they want to try to put on the makeup without waiting for the men to indicate they can do that – to see if they can force the energy to happen.
So there’s this kind of frustrated feeling with things. And I know I’m going out to the nightclubs with my friends, and when we go into one nightclub I make friends with a couple of Americans who have come to visit – maybe they’re related to some Asian dancers, a troupe of them that they work with in the States.
And so I talk with them. I’m trying to see what they’re looking for by visiting our country, or that nightclub, trying to give them some tips on something. And then another time I’m starting to go out to the nightclub and there’s a young man that comes looking for me, and I keep turned so that he can’t see it’s me.
He’ll just keep looking in the building and I will have left. And meanwhile I’m going with my girlfriend to her house. She’s married and she has actually quite a large estate and she’s kind of asking me why I brushed off this nice student?
And I say, “Well, because he was just like a summer student. You know, he’s over there, he is a very nice guy, he’s looking for fun, but you know that’s not what I’m looking for.”
Meanwhile I’m trying to climb up over a roof, and over a gate, to get into her estate to sit on the roof of a building that looks out over this property that she lives on and owns. And we meet other people that will sit on the roof with us. And I’m feeling her sadness because she doesn’t have any children.
Maybe that’s something I’m trying to console her about, or help her with. And that’s either the first or the second dream.
John: What you’re describing is the recognition of how something… in other words, there’s a big confusion that can tend to exist in which there’s the restlessness of the overallness of the presence of the feminine, in terms of creation.
The dream starts off where you realize, and know, and understand that a doingness by the feminine has to stop, because the unfoldment may come through the feminine, but the direction comes to the feminine from another means.
And if it resorts to its doingness, it ends up reaching an empty condition, or a condition that is childless, that doesn’t actually go anywhere. And so the feminine has to wait. This use of energy in the overall, has to wait, and catch up with the memo of what it is that needs to come through, that it needs to guide, or formulate, or process into life.
The peculiarity is that the feminine has to let go and become totally receptive, totally subjective, thus a kind of empty sheet of paper. In other words, her nature is her nature, but the doingness of what needs to happen can’t happen without the memo.
She can’t go trying to put on the eye makeup, so to speak, herself. She has to wait until something comes through that causes a quickening. Now, the dilemma the feminine is going to have, and this is reaching out a little bit in terms of my dream, the problem that the feminine is going to have is that in her pristine quality of stepping back and just recognizing the greater quality of the emptiness, in other words the stopping of the doing, she does reach a state of an emptiness.
It’s hard for her to hold that state because the nature is to always be active, always be trying to purport some sort of mannerism or expression. And if you do, you’re putting on the eye makeup according to your own design without the understanding, in terms of how it’s to be, having come through from another place.
Now in my dream, that understanding of what is able and meant to be able to unfold, again has a whole way of perception, transformative perception, that needs to exist. In other words, just like the feminine has to make herself an empty vessel from the standpoint of dropping her predilections, and notions, and mannerisms, and ideas of how to look and be, in order to be able to properly hear.
The expression that comes through the masculine when first seen in its literal context, has a shadow orientation to it because it’s overt, it’s very dense, and it’s very much in the world. So the masculine expression needs, just like the feminine needs to stop her doingness, the masculine expression needs to peel itself all the way back to the essence upon where that projection of memo and mannerism comes from.
And it is that quality speaking to, and working in conjunction with, the overall letting go and emptiness of the feminine, that is what is really going on. And the level of an expression that comes across that is easy to poke at and say, okay, that’s an absurdity, that’s ridiculous, that, lived through, carried through, is functioning with the lowest level of creation.
But it doesn’t mean that that’s who you are. Behind what unfolds out is the container vessel that takes the memo of that, which it doesn’t contrive, it just allows it to be. It takes that and presents that out, and it comes from a masculine use of energy and, viewed in and of itself, is a shadow or a density.
But behind that is the vibration of what is really going on. And so if you see what is really going on, what you end up with is a feminine nature taking upon itself a mannerism that it has to portray, and live through, and it needs to not take on the doingness nature of itself in some preening way, or mannerism, in terms of how it adorns itself.
It needs to hear the memo even if the memo, on a dense outer level, is seen to be peculiar, awkward, out of place. If it has something behind it, in terms of the masculine’s feeling-in-the-bones quality or whatever you want to call it, which drives something like this, then you have the combination of something that goes from inner into outer.
Judged or viewed, however, just from the aspect of what is projected out, or done, in the outer, and not seen in terms of the subtle nuances from the inner linkage and connection that exists, both as the feminine being able to let go and being empty, in order to then have a sense of the Whole, or of the masculine having to yield inside at some deep depth to a power that be, which is coming from the bones, so to speak, even though in the outer, if seen just as an outer expression, is considered fairly trite, or foolish, or out of place.
Only when you’re able to really look behind that and see what’s really going on, meaning that’s behind that, if there is something behind that – and there generally is – it’s just a question of what the veils are.
That’s when you’re coming to grips with the potentiality. And so your dream, first of all, is almost like a corrective dream, in that it is saying that things work out when you adopt or put yourself into an empty space where you’re not directing a doingness on your part, but are able to facilitate the unfoldment that is brought before you.
When you take that, as an otherness, on, and don’t judge it or reject it because your essence of the empty space can feel behind that dense outer expression, a something more, so you then are able to facilitate the denseness of something, able to facilitate it through, yet yielding and able to somehow correlate from your emptiness to the vibration behind the denseness. That is when inner comes into outer.
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