In analyzing dreams and their symbolism, it’s often the simpler aspects that can tell you more than the dramatic images. In this example, what is being noticed is the direction of things, i.e., are we going up or down? There’s a crocodile in the stream, but what is it that turns a menace into a helpful companion. So it’s not only what is happening, but the reason why things happen. It is those relationships between you – the main character – and the dream world that matter most. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: Last night, early in the evening, all I was really aware of is it felt like I was listening to the Adele song “Rolling in the Deep Again,” or I was listening to her sing. That was all I remembered of early in the evening.
And then more towards morning I had this dream where I’m traveling in a car, it may even be a convertible, and I’ve gone up a hill. But when I get to the top of the hill it looks like the road is running out, and I see actually another road down below – I’m wondering if that was the one I was supposed to have taken.
And I need to get down there, so I look over to my right and sloping down this steep hill that’s more like a meadow there are some tiny tracks that look more like a path, or like a real old road, and I wonder if I can get down there and across the stream I see at the bottom. But I see a car come out way down below and do just that, so I figure, well, I’ll try it.
So I go down this steep hill carefully. I think I have like a white convertible or something. I get down to the bottom but then I have to stop right on the side of the stream. And it’s a shallow stream, but I want to cross over to confer with some people on the other side of the stream. They’re going to help me get the car across the stream now.
Well, there’s a great big, huge kind of white crocodile in the stream, gigantic, so I’m concerned about how to get across the stream without getting eaten by the crocodile – like maybe I have to skid into the stream and help push the car at this point.
To my surprise for some reason these other people and I seem to hit up a dialogue with the crocodile. At first I thought it was a male crocodile because it has this deep voice, but then we discovered it has a couple of little babies. And it seems like instead of the crocodile eating us the crocodile wants to join us, which means then we have to figure out a way to feed the crocodile of course. I’m thinking about getting some old meat and tenderizing it, or what else can we toss it to eat?
Then it seems like what we actually do is the crocodile is going to go with us. That’s that dream.
John: So is it a dream actually? Because the whole thing is is you’re making a north, south, and east to west. In other words, you’re having the depth perception of going to the north or going up, and then the roads run out, right?
Jeane: Yes.
John: And then you see them down below again as something is going on because there are roads that go down. So now you have the above and the below, and then you have to go across, which is like an east and a west now.
But in doing that, you end up at the interval, and it’s an interval in which the kundalini energy – expressing itself as a crocodile now – is there to devour you. And yet in that spark, and in that moment, is a relationship. It doesn’t have to be a relationship based upon the fear or the condition of being out of touch with that flicker that’s in-between. It’s like the idea of the crocodile going with you, that’s where you get it – at that moment.
Jeane: I think I’m going to teach the crocodile how to sing. I seem to remember that.
John: Yeah, that’s where you get it. That’s where light comes down upon light and light rises up to touch light. That’s where there’s the connection. That’s where there’s the spark.
What’s interesting about the dream is I portray it as very narrow, almost going through a doorway, which is kind of a linear way and maybe a masculine way of portraying it.
You portray it much like a good picture where it has the sense of depth perception in it, which would be when you look at a picture that’s not just a photograph but a picture that has the undulation lines. It has the above and the below working.
And then you’ve added that to the idea that there is this in-between point, that I call the doorway, but what you’ve added to it is you’ve made it bigger. I make it like a split second and real small. That’s probably the way the masculine portrays it. Who can possibly get a glimpse of something that’s just a split second? And yet you have to reside there as a soldier between the two worlds.
And you take it on as a plane of existence in a world in and of itself. This is where you and the crocodile really relate. You have your dialogue and everything going. So what you have done is you’ve taken the report that I’m giving in kind of a… from a state of shock, you’re taking it into a state of normalcy, a strange normalcy however.
In other words, that’s just the way it is kind of thing, no drama to it, not this sting of 1,000 scorpion drama or anything like that even. You and the crocodile have a rapport.
To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Relationship
