These two dreams have an excitement to them: a chase scene, a ship on the ocean, and chased while swimming underwater! And as John explains, it’s all a means to show how Jeane is working out some issues on the inner levels, between the masculine and the feminine, the inner and the outer, and the conscious and the unconscious. That’s a lot of territory for our dreams to cover, yet we can see that they do so with amazing fluidity and ease – to help teach us. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: In this next scene that I remember, it feels like I’m on a really large ship and I’m hiding in the hull of that ship with some other people. And the people that run the ship are coming searching for us and so there’s this large plank-way, or large passageway, with a lot of light behind it that comes down into the bowels of the ship.
And I can see there are people because they’re lit up and they’re kind of spread out across that plank-way, coming down slowly, like guards would, with lights searching for us. And the only advantage I can see that we have is that since we’re in the hull of the ship, even though it’s a limited area, it’s quite dark and there are a number of us so maybe some of us can get away. I don’t know yet because I don’t really see where that part of the dream goes.
John: So a ship is destined and designed to be something that is able to ride the currents of life, however the currents of life might be, because a ship cuts through the depth of it can be underneath the waterline into a type of unconsciousness, and the top part can be flowing in a visible type of outward-looking consciousness.
And a ship is designed to be able to embody both the conscious and the unconscious as it sails along. And because the dreaming is about a kind of connectiveness to both above and below, and the feminine is kind of the below aliveness, and the masculine is kind of a quickening of things that enables something then to twine together, the ship again is another image of this presented kind of in another way.
And, yes, you do go into the depths of something in order to come to grips with things that you may not have been taking into account, that are part of a greater overall, but you don’t stay there. You have to bring all of that, or carry all of that, in terms of the place where you’re at, which is both above and below.
So it’s an interesting image that kind of portrays the, you might say, natural condition of how you find yourself.
Jeane: Then I’ve gone, and I’m unsure again, and first I’ve gone down to a little inlet where a woman I know and her husband, who’s Israeli, are living. It just feels like I kind of touch base with whatever’s happening with them at that inlet.
And then I leave and I come back up the shore a ways, and what I’m doing is I’m going to swim underwater to an island. And when I swim underwater to the island, I come up out of the water in an area where they kind of loosely set planks on each other and establish kind of a base where you can pull yourself out and walk around. But it’s somewhat an unstable base because it’s planks interwoven across water loosely.
People there are maybe selling wares or stuff, so I go past that area and I go up on the shore of the island and what I’m seeking in some of these little huts up there where they sell goods are some women who make blouses. They’re really kind of pretty embroidered blouses and I actually find… it’s not quite a chest, but a little alcove up there that when I look at it it seems to have some of my own little treasures.
It’s jewelry and small items that maybe are somewhat of worth that I have, or have had in the past, and I’m just kind of noticing that that’s there. And then I realize when I look at the women that are making the blouses that I’m going to have to go choose some fabric, so it’s like I go to wherever the fabric is to look at fabric that they can sew into a blouse.
And then again I’m feeling like I don’t have much time when I’m here. So I’m going back out getting ready to leave and I run into an old boyfriend who used to live on the Dominican Republic, which is also an island, and he feels like he’s living there now, and so we try to exchange phone numbers.
The problem I have is I have this piece of scrap paper to write the number on and the pen I have is more like a little bit of a charcoal pen, so it doesn’t write real succinctly. And when he gives a number he seems to give a number with letters, too, and I’m not sure I can make out the letters right so I’ll try to rewrite the number, or find another scrap of paper to rewrite the number on.
And I’m just not really sure we got the numbers exchanged right because the pen just didn’t seem to write that clearly, or the numbers were numbers and letters and that didn’t seem like the best way to remember a number.
But, again, I seem to be pressured by time, so I only have so much time and I need to get back.
Well, then when I go back across the plank area, and I’m going to be going underwater to swim back, I notice there’s kind of these teenage hoodlums after me. So when I dive in the water, they go underwater, too, but they’re able to be underwater because they have some kind of like a nose plug that allows them to breathe.
And when any of them converge on me, I seem to be able to be underwater without breathing longer than they can, so what I do is either pull out their nose plugs or cut the cord that goes to them that’s giving them some oxygen – so they can’t rob me, or whatever they’re trying to do. And then I can swim away underwater to get back to shore to where I came from.
John: The first part of the dreaming has you in kind of a tone or modality in which something is stale, or needs action, or enlivening in order for a flow to exist. And what is missing that facilitates that flow is something that creates the connectiveness or the intertwining.
And then when the flow occurs you have to learn and figure out – this is like a teaching dream – you have to figure out how it is that you can take what is imbedded inside of you and bring it into the outer in a natural way. The degree to which you can’t means something is like pursuing or haunting you because it is meant to come out.
So the middle dream has you seeing a sequence of how a ship sails across the ocean where it’s cutting both the conscious and the unconscious in existence there simultaneously, but you are finding yourself staying more in the unconscious.
The third dream seems to indicate that you can’t be black-and-white about this, either, because there’s something important about the unconscious in that the island that you’re able to go to there is a way of you being able to etherically just kind of feel the whole overall space of yourself.
And that leaves you full but, somehow or another, you can’t sustain that and that’s why there’s this energy of time that’s pressing you to have to do this and that when you take and leave and have to get back to it because you’re not able to sustain it because you still seem to have this quality, or mannerism, that is pressured to have to contend with this, or contend with that. And when you’re pressured to contend with this and contend with that then that’s when you have things that are haunting you.
But the dilemma that exists is that you’ve also speeded up now and so you kind of know all of this. It’s not like this is Greek to you. You’ve kind of developed training wheels that understand it. That’s why you can take the nose plugs off of things. In other words, you can look at the cursory little stuff and still make discreet decisions in terms of how you maintain a mannerism.
You’re caught in that you should be able to more naturally integrate this stuff, and yet you still feel you need to have what I kind of call the cradle vibration where you sit in something and are nurtured by it and then that then somehow fills you up so that you then can make kind of a journey into life.
When you don’t quite sustain, or maintain, or carry that, in terms of your natural demeanor, and then you find yourself imposed upon by things in the outer that disturb kind of an equanimity for you, you’re kind at one of those unusual little crossroads where you are presenting as an answer the idea that it is okay to go off and be alone, providing you hold, or cherish, or nurture this state within, this very state within, but you can’t stay there, you can’t be stuck there because it’s able to be noticed by you, but you haven’t fully brought it through into the environment that you’re in.
You still have predilections that you consider significant or important that you lean on. There are certain things that you haven’t quite let go of and, as a consequence, you’re haunted in those particular regards.
But because you have an awareness that you have this sort of thing, whether you like it or not, kind of plaguing you a little bit, the degree to which you catch up with it, or notice it, on a body-sensation level is the degree to which you are restive over time – because enough is enough.
But you still haven’t worked it or processed it all completely through, so you have this interesting dichotomy. A dream like this is causing you to feel this dichotomy because that little bubble in between, or little burp of something in between that stands a tiny bit in the way of a more natural fluidity you’ve more or less brought it to the forefront to which you can more smoothly close whatever that little herky-jerky is as a gap. Do you see how that is?
Well you were getting a lot of discourse and direction. It was an interesting subject matter with the theme being kind of like, okay, let’s take an aloneness state and take a look at that and see what that signifies.
There are positive aspects to it, and there are negative aspects to it, and there is a type of aloneness that you have to have, and then there’s a type of aloneness that makes you strange or peculiar, too. It’s kind of like a subject matter like that and then, as you sort that out, you come to find your cadence in terms of inner and outer.
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