Jeane’s dream offers a good reminder of how we are all the characters in a dream. The real people are representatives, in the imagery, of some aspect of ourselves. So the question is, what are they doing? Are they moving closer to us, or further away? Are they the masculine or feminine side of our nature? As we develop, we begin to bring all the disparate parts of us into a singular alignment, and our dreams can show where there is resistance, or where we are getting along well. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: Well, I have two long dreams and I know I had a little prequel and a sequel that were brief.
The very first dream I had last night I didn’t really pull out, but I remember at the end of it there was something where there was something white that was almost like foreign looking, could have even been an animal, that was popping through from somewhere else and that it just totally delighted me.
That’s all I remembered of that very first image.
John: At least it delighted you and didn’t scare you, because the animal popping through is raw energy that’s like a masculine. It can be too much, too. Fortunately it wasn’t.
Jeane: So I woke up at 5:00am with this long dream. Now in this dream, initially you and I are staying almost like in a hotel complex in a city, in a very complex hotel building actually.
In that dream, the initial part of it, I would just have to say there’s a lot of going up and down and around into all the different levels of the hotel, in the boiler room, the spas, all sorts of places.
And then I’ve left there and I’ve gone to a home in the countryside that you and I have, and this home is built on a hillside. And it’s a lot of glass with redwood, so lights can actually kind of just shine in all over from all over the house.
When I go out to this home on the hillside, your brother shows up there. And it feels like in the kind of like daylight basement, because it’s on a hillside, it’s like all the floors actually open out to ground level, but on that level there’s also a loft inside the house and on top of that loft area is where your brother has been staying.
And he’s come and he seems to be wearing kind of, I think he’s wearing blue. He’s kind of bright, but it’s almost like he’s fallen in love with me or something, so I’m kind of frowning on that. Then he just leaves.
But I don’t know where he’s gone. Has he gone somewhere else in the house, or where is he? You haven’t followed me to the house and I can’t figure out where you are, and are you going to come?
I do go outside once and there’s a neighbor, almost like a little bit of an obnoxious neighbor woman, who lives down below somewhere. I have seen her at one point, and then I’ve gone back in the house. I always seem to be looking for your brother when I go back in the house and I don’t know where you are: are you going to come, or what are you doing?
I don’t seem to be able to leave the general area of the house. When I go back in the house, after having been outside for a while, I find all of these people in the downstairs anteroom and they’re actually smoking.
They’re all different ages. They seem to be a family, a kind of related family, and I explain to them we don’t smoke in here so they reluctantly put out their cigarettes. Initially I assume they must be your relatives so I’m stuck with them, right, but then I start questioning them more closely and realize they’re not relatives at all.
It’s like the neighbor lady down below had just seen that we weren’t occupying the house and she’d sent them up there to stay. So I make them all leave because they’re not related. But there is one little girl in the group that’s kind of interesting, and when I’m outside on one of my walks again I run into her.
She even has a device in her hand that looks like a cross between a flashlight and a weapon, and you never know how she’s going to use it, but she’s actually friendly towards me and we have some kind of a friendly encounter – and I feel good about that.
And then I go up on the hillside and I run into a Native American man who lives in a little trailer up there. So I run into this Native American man, almost more South American in that he kind of has a poncho he wraps around him.
He has this big red setter or some kind of a big dog that he has a muzzle on because it runs at you. And I tell him the dog doesn’t need a muzzle, and the dog runs up to me and just licks me while I take off the muzzle.
And then I go back to the house and you’ve finally shown up. And I want to explain to you about your brother because I still don’t know where he’s at, and you kind of laugh about it and say that your brother’s gone to live in Tucson.
And now it feels like you’re back in the house. And that’s that first dream.
John: You’re doing a parody with the collective conscious. In other words, you start off kind of in the collective conscious, in which you’re amidst all kinds of people in kind of a great big hotel/motel.
And you’re going up and down, going in and out, going through the affairs of life, and what you need to do in order to catch up with something more closely inside yourself is you need to step aside from that. You need to access something that’s part of your higher consciousness.
You somehow stiff-arm away from that into this house in which you can seek to attempt to find a greater depth inside yourself that you can’t find when you were down there going up and down and around and about amidst the masses. To some degree you have success because you open up a connection to your higher self that is trying to get closer and closer to you; that’s represented by my brother.
However, your identification is still upon something within manifestation, or creation, and that’s represented by me. And so you haven’t sorted out how to pull the two together. You seem to see one of them as infringing upon the other, as having an impact that undermines the other.
When you leave the house it’s like you’re kind of in a state of bewilderment as to how he is, how I am, but you’re trying to be open and receptive and you have been put in this position, or have gone into this position, like I said, so to speak, stiff-armed yourself from the collective.
So that the next thing you know, when you drop the demeanor, the collective just tries to move back in because you haven’t yet taken in the wholeness of it all. Well, you realize that that isn’t, that in terms of you trying to form an identification in terms of what is important and what is real, I mean it’s tough enough to figure out whatever happened to me and the situation with my brother – and he seems to have an intrigue that touches or affects something and causes something to awaken.
But you can’t have that sort of thing going on. Well, it’s like you’re in a state of bewilderment because that isn’t how it is, in terms of your idea, designed to work. And so you report back to me that this sort of action, or mannerism, is occurring. As part of this, however, before you report this back to me, of all of that which had come tumbling into the house there is a quality of yourself represented by this little girl that’s interesting, that experiences a kind of awakening, that’s different.
In other words, you don’t totally rebuff and dismiss everything there in terms of this greater overwhelm. Something of this part seems to still be there. And it’s because there’s something of this part that still seems to be there that when you take, then, and are trying to understand and trying to pull together the quality of my brother and myself – and you have this little space sitting there in your conscious unconsciousness tinkling around just a wee bit – it somehow does make sense to you, then, when you’re told that my brother has gone to the southwest, or to Tucson.
In other words, that which you need to find is aspected in another place. All of that needs to be pulled together yet, and that is actually a kind of going into the outer. And yet at the same time it’s a type of the inner. But at this point where you’re at, you still need a certain kind of acknowledged recognition that has to do with me, in terms of what you’re able to grasp, and pull out, and see.
In other words, this is your filter mechanism towards getting more and more awakened. The other is like too much, and so you’ve created distances and mannerisms so that it is taken in at a pace that you find acceptable.
The interesting thing is the dream starts off with you recognizing that there’s something about the collective in the outer, and the way it goes up and down and around and about, that that doesn’t make any sense. So you take a step into yourself by going to this other place which is more like a home for you, another home away from all of that – because your home is also in this other huge motel or hotel, but you can’t handle that in and of itself in terms of the collective outer.
That’s all too much, so you go into this inner depth and it is too much for you to handle, so you then have to make another division inside of yourself in order to try to experience, or realize, or recognize something. What you’re kind of finding yourself doing, in one level, you’re becoming narrower in order to try to experience something. In other words, you’re simplifying in order to experience.
And on another level you’re recognizing that there is this whole other, too, but all in its due time. And so the choices that you’re making is you find yourself in a dream like this choosing to familiarize yourself and be awakened in a certain specific way and, as you do this, some other part of yourself always knows that there’s more, that there’s so much more.
But, be that as it may, this is how you see yourself having to approach it, and be attracted, and interested in the process – because the other is too bewildering.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: A Step Inside
