The Dilemma

4626780773In this last image from a series of connected dreams (see The Setup, A Yo-Yo Situation, and In the Hunt), we see the evolution of the process: the dreamer began as a man, and in this image is trying to entice a man. The masculine and feminine aspects within us, as shown in our dreams, can often be at odds, as they are in the outer world. And, just like in the outer, their coming together requires the trust and safeties in place that can make it possible. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So in this last dream, I’m like in Paris. The man I’m with, who’s undressed and standing at the end of this little sofa bed, and I’ve actually got clothes on, but I’m lying on the sofa bed, and it’s like on the one hand maybe he just wants to make love and see what we’ve got going, or do we still have anything going? Who knows?

And what I’m looking at is I’m looking at the different faces women put on, like I’m thinking about like Joan Crawford in the movies and she painted her lips a certain color of lipstick, and used eyebrow pencil, and she created a look that had a certain kind of hard edge to it. And then that’s what you were, and then as a woman sometimes you can take your makeup and you paint a different kind of face and you have a whole different energy going on.

And sometimes I just want to take off all the masks and just go out and enjoy the city, but I feel like the masculine there is kind of wanting to define something, and I’m kind of wondering what it would feel like to just take all the masks off and not do anything, but just go out and enjoy Paris.

John: That’s drilling down. I mean you started with the masculine as you started to dream, then you went into a mannerism in which you were hanging out in an absenteeism, or an emptiness, and found that that was better than having to be caught in action.

And then, in the final scene, you’re seeing the limitations of trying to pull something to you – that’s contractive now. Because you started off expansive, and now you’re going contractive in which you’re trying to pull something to you. In other words, you’re painting a mask, or painting a tone, or adjusting your trait or mannerism in order to have an effect, or influence, upon what is propelled, or directed, your way.

So now you’re trying to allow something to be drawn, as if there’s something inside of you that draws this orientation. And that’s true, it does, but still all within the schematics of utilizing certain deemed characteristics as effectual. The painting of all of that on, the accentuating of that which draws something to you is the art of preening, and that pulls something to you. And that is contractive in its nature, in that in the microcosm of one’s self there is something that draws like a magnet.

And then the opposite corollary is what you started with, in terms of an outer part of yourself, or masculine, trying to scale the heights of things, trying to fly and all of that, realizing that it had to get grounded only to find that it ran into all kinds of bizarreness because whatever notionality or mannerism that it carried, that was still peevish, would then create the alligators and all of that kind of stuff. And then you had the various ways of trying to contend with that, or ignore it, or whatever – and none of that worked.

All of these dream images are going around and around in a way, because behind all of this around and around is something that takes all of those scenes into account. And what takes it into account is a quality of the heart that has an attentiveness, that doesn’t have to conform to the mind, ego, and senses. What you’re doing is portraying the dilemma. You know, how do you go from either of those extremes, to that? How do you do that?

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