The Haunting

Girl FlyingJeane’s dream has it all: prisoners, a chase sequence, the ability to fly, a Christ figure and more. Yet as John shows, if we strip it down to its bare essentials, it is the story of a man and a woman, together at first and then separated, who are trying to reconcile their situation. Said another way, the masculine and feminine aspects of us in the dream world can depict a struggle for integration amidst great resistance. This is another instance where letting go would allow the two to come together more peacefully. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: This is a dream I had while I was getting a long distance treatment and, initially, I’ve gone with a man who seems like you, to a distant kingdom we don’t know much about, to kind of investigate what’s going on there.

We’re in this huge structure in this kind of stone-like room. It’s while we’re there suddenly I realize that they plan on taking us prisoner. So we have to decide how to both find out a little bit more about what’s going on, but to get away. And as they go to take us prisoner, that’s when you and I get separated and I don’t see you anymore in the rest of the dream.

But initially I get on the outside of the structure and I climbed way up on the sloping stone roof area, and I come across an area where there are other prisoners, kind of dressed like you would see people dressed in the holy land and with the women with the robe partly up over their head and kind of indigo colored.

And I ask these women if they’re also prisoners, and they say yes. Then I see a man at one area climbing a bit, and I start climbing on this stone wall. And I get to a place where I feel like I could fall. I’m very high, but I can find handholds that have been carved into the wall. And I realize I just have to trust the next handhold is there, because obviously these people have been trying to figure out how to escape for a long time, and if there was one carved smooth handhold, there will be another one. 

I just have to trust that. So I’m doing that and then I get over and I can peek around an area to see where the guards are down below, and then I get inside the structure somewhere but now I have to figure how to get out.

Now I’m up above where they put us where they were trying to keep us prisoner. It’s high. And now I’ve gotten down inside the building. I’m still trapped so I have to get out of the building. So I’m very quietly going through these huge stone corridors and I see a door slightly open to the right, but I realize that leads further into the building so that would be like a trap.

And then there are these very shimmery turquoise cloths, almost like veils, kind of overlapping in the hallway in front of me. But I see that if I slide under them there are some glass doors there that are a few inches open so I slide under, I go through the glass doors, and then I’m in this bare room that’s like an anteroom.

And I see that it has another glass door to the outside, so I sneak out. And then I’m hightailing it back towards home and I realize that I have to move faster than I am, and that’s when I remember that I can fly. But this time I’m going to have to kind of fly because I can feel that I’m being pursued.

But when I get to where I can actually see where I came from – there’s just this road between me and where I came from – and I can see it and I know I’ll be safe there. I glance behind me and there’s this woman, brown hair wearing a long white dress. But I realize that in order to get that close behind me without my noticing that she must also have some powers and be able to fly.

So even though it looks like I can just about run up the road to get home that I actually need to kind of divert a bit to stay ahead of her. So I go over the embankment there – I feel like she’s one of them. She’s going to catch me. 

So when I go over the embankment I see an orchard down below, and now I have to really fly because everything drops out from underneath me, and I’m flying kind of in the direction of home over where people are cultivating an orchard trying to not be visible, and suddenly it’s like there’s a huge tornado that started on the ground and I’m going right towards it, and it’s coming towards me. 

I’m trying to stay out of the way and, as I get there, it just misses me by an inch and it uproots the last thing it’s uprooting and it goes by me, just whizzes by me inches away. And so then I go off to the left and there seems to be a desert there with some caravans in it.

And these people are very large. They have like little gypsy caravans. There are just two of them and one of them is on something that looks, I don’t know, it’s some type of a cross between a camel and a horse the way it moves.

And they’re very large people compared to me, like giants. And I’m moving towards them, but they’re too far away, if I holler, for them to hear me if I cry out for help. But I see them turning away so they have too seen something that scares them a bit.

So I cry out for help, but I’m sure they can’t hear me because I’m so small compared to them. And then suddenly, whew, it feels like something hits me. I’m standing still and I look down and there’s a figure pinned down under like a partly collapsed shed, almost like a vineyard-type shed that fell on them.

And, at first glance, you look at this figure and you think that it looks almost like – I call it El Rey, which in Spanish means “the king” – it looks like a cross between a Christ figure or a king except without the energy. And I look at that and I almost want to make a step over to help, but then I stop and I remind myself that no, we’re not supposed to have kings anymore.

And when I get clear on that thought, it suddenly turns into this large furry creature. It’s all fur, kind of reddish brown fur, and it just is large. And then it just, poof, fades away. That’s when the dream ends.

John: Essentially what you’re saying, it’s kind of a bit of new information even, it’s like if you take the feminine nature and say that it carries something inside of itself that has a way of knowing, even though it can’t catch up with it, and then you take that nature and you realize that it has to get hit with some sort of masculine energy in order to get something to implement or to flow. 

Then when that implements and flows and takes on an action, which means a responsibility in manifestation in terms of the scenario of manifestation, then it has to contend with its own idea of what is copacetic, in other words what are the comforts that make sense to it? 

In other words, it’s still going to have conceptualizations. And this is like a dilemma. You have the masculine not able to help work through these conceptualizations anymore. The feminine it may have been responsible to help get something going in terms of being able to try to find a sense of freedom, so in trying to then deal and address and work with your environment around you, you still are largely trapped. 

You’re primarily trapped or haunted, however, by conceptualizations that you still carry. In other words, that’s why there is this other woman who is pursuing you. And so as you’re fleeing along, when you see these giants out ahead, that are like gypsies, they are like a cross between the divine and a human. 

In other words, they’re monsters in a sense. They’re neither human, nor are they divine. And what you’re doing is you’re trying to break through kind of like a barrier, even to get to where they’re at you had to go through a tornado right, or by a tornado?

And that’s like breaking through a sound barrier. Sound is what created creation or manifestation. It’s like breaking through, so now you’re actually visualizing on some inner world dimension where you have this sort of thing that is flowing, so what you have technically done is you’ve broken beyond the haunts of your own idea of limitations in terms of what you can and can’t do. 

So what is really strange is the feminine condition carries a repressed quality of sight that the masculine nature sets in motion. But then the masculine nature steps back a bit as the feminine nature then has to order it out or do what is necessary to take responsibility in the manifestation of the whole.

But then the feminine nature has a tendency that when something gets to a particular point it says, okay, this is good enough, this is where to do more would be too much, would be outrageous. And that then keeps you in another kind of prison, when you think like that. 

And this is where the woman comes in. She’s actually a wise woman that’s deceived. And she’s coming after you in order to make sure that you only stray so far, that you don’t take on more liberties than what you’re entitled to

In other words, it falls under the motif of kind of like, “the pain of love.” 

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Haunting

Leave a Reply