This dream elicited an excellent description of how the feminine principle works – in a natural way. And we can see in the world how that principle has been lost and subverted, but it is good to understand anew how the roles of the masculine and feminine principles are critical to the evolution and unfolding of life. This also shows a deeper level of what it means for a human to improve life on behalf of creation – a very high service indeed! (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: I think like I have three dreams, but I lost the first one.
In the second dream, it feels like I’m helping take place in a race. I think about it more like a horse race, but I seem to have these small animals or people or something that race for me, but they’ll only really do well, or race well, if I have some kind of a playful interaction with them – like you just have to be in a certain space or it doesn’t work.
And at first I’m not quite enough in that space for them to do well in the race, but then it feels like we shift and we’re going to another race track, and I actually get involved in helping the other people that are running, or involved in, races and what they’re doing. And in the process of helping them with what they’re doing, it feels like I kind of get into the right space to then start rounding out my little runners.
And I feel like they’ll do well in the race, but it’s almost like I can just see occasional interactions with them because I’m kind of involved in helping everything happen. And, once I’m kind of in that space where it feels like they can have this kind of happy or playful race, I’ve gone around to see what else is happening where I am.
And I know I walk by one area, and it feels like the women there have gone to an area behind a stage and they’ve put on chadors, kind of almost like thin silk chadors, and then they go out on this platform and they all dance in a circle, and then they go back and they put the coverings, you know, down again. And, again, it was fairly light.
There’s other events going on all the time, but I’m going to leave this area now and what could almost seem like another dream is actually a continuation of this dream at this point, where as I go with a couple of the men and I leave the area, and it’s like I want to go to the ocean and they’re going with me, and this is an ocean that’s in an area of huge rocks. At one point we have to even scoot down for a long ways over a rock fall. It’s like I kind of like run down that on my own to get to a base, and then, as I go over, I find an area that I want to explore where I actually go to the water.
But I only want one of the men to go with me there, and I go over and it’s this deep blue-green water, and I am thinking about going in but I realize I’d even get my shoes, and things wet plus you have the sense that this is an ocean that’s really deep, and not entirely safe, but I find that kind of exciting but I just kind of like mark the location. I don’t think I get wet.
I go back. I’m still with just one of the men. I think there’s actually two men I’m with, but I’m only with one of them right now, and I suddenly see this strange house built into the rocks. So I go over to the house and I go in, and I’m by myself at first, and I go into this one room and I suddenly find that this room can shift and a musical instrument will just spring up and start playing music, or the room will shift almost like a puzzle box, and suddenly that room has become something else. And I’m totally intrigued.
At one point I’m even kind of about to open a door, and then I find myself hanging onto that doorknob because the floor of the room has disappeared, and as I look down another room opens up and I see a musical instrument, and then that shuffles and closes and changes and I see a place where the floor opens up to the ocean, and then it shifts and changes again and maybe I’m back to the original room where I can put my feet down. And then I go over to my left and up a bit almost like opening a door to an attic room, it looks like it’s going to be just a little room but, instead of opening up like into a cupboard, it suddenly opens up into a room where the owner of the house and three other men are, and they’re kind of like working at tables or a desk or things.
And I go in there and the owner starts communicating with me, but he has to do it mostly with his eyes or his hands because he can’t speak, he’s mute, but we have this connection anyway. But there’s one of his guards that can talk to me. Then the guard and I and I think the owner we begin to go about the house, and I take them down to a room near the bottom of the house, and I very gingerly take them in to meet the two men that came with me.
And I realize I have to do this gingerly because the men that came with me I realize work like for the Secret Service and some other organization like that, like the FBI, and the men that work for him work for something like the CIA – so you know that none of them trust anybody else. So I have to very gingerly introduce them, and then it feels like as I’ve introduced them that I kind of back off a bit. It’s like I want interaction more with the owner, and I also want something that opens up more to the ocean again.
John: The dream has a central thing that goes through it that is kind of like a description, a depiction, of the underlying aspect that is going on all the time in your dream. An underlying aspect is that the feminine is in touch with vibrations. In other words, manifestation is a reflection of vibrations. In other words, things rise up and come into existence and live themselves out as a vibrational flow – and the principle is channeled through the feminine. Everything is channeled through the feminine way because the feminine embodies matter and, if there is an imbalance in any regard, the feminine carries it, she reflects it. A feminine will continue to reflect the imbalance if she doesn’t reach a quality inside of herself of being able to take a vibration back to a stillness, because she carries that stillness, too, but that stillness gets repressed because she has no choice but to reflect vibrations.
Now what is a vibration, actually? It’s a kind of a flow. It’s kind of something coming out of a stillness and put into motion. In a roundabout way, you could say that it’s the input of the masculine, even, the masculine bringing the seed thought through and the feminine being the receptacle vehicle that receives it. And, in receiving this vibration, in taking in the vibration, because the feminine’s nature is such that she has to experience something, whether it’s divine in terms of a purity or not, her nature is such that she has to experience what there is. She has no choice in that matter. She is subjective in terms of her general overall nature.
And so, in that regard, that’s why she’s the container and the overallness. Now the feminine can declare war on being the container and, if she does, then she shuts herself off from a connection to the stillness. Now stillness is a very complicated word because there are levels of stillness, and there are degrees of stillness, and the first level of stillness that you went through was the level in which there was, at the very beginning of the dream, where there was something that just wasn’t right and there was a tone and a mood. And somehow or another you were able to bring a levity or a joy into that, and change it, so that it wasn’t as dour or as weighty in terms of its mood or its tone.
And then once you were able to do that, then you were able to go over a rock and in the Bible a mountain is described as obstacles, as an obstacle. Well, something that’s a rock carries a memory-type vibration. In other words, it’s very, very still and yet compact, and it carries a vibration that isn’t necessarily readily at flow in life. In other words, the feminine feels whatever’s at flow in life and goes along with that, and is actually part of the problem because she’s designed for purposes of being the receptacle that channels things through her. And it’s important for her to be that way as a wholeness because it is part of the procreation cycle.
She also channels all this other through her. She can try to declare war on that, which is what happens if she takes and attempts to act as if the function of the masculine is the problem and chooses to stiff arm and take on a demeanor and attitude against it. But when she does that, she just channels another mood – and that is not one of stillness. That is a mood of abstraction, and in the abstraction she is then repressing the vibration. In other words, the whole humor of all of this is that the vibrational feature is kind of like, because the masculine carries the seed thoughts, is kind of like a misaligned aspect of of the out-breath of the nature that comes down into manifestation. What it finds in manifestation as the home is the feminine, which then has to receive what is here and goes through and experiences that as the makeup of her domain, and channels what is readily there that readily comes in.
She knows that there is a difference somewhere deep within, because of her wholeness she knows that things aren’t quite right. She can hear the truth, but she cannot keep from taking in what is brought before her in terms of her nature. And so the whole resolution to this is in finding the space that doesn’t bite, you know, doesn’t react, that basically can take something back to the emptiness, because as long as it is a flow, a vibrational flow, it takes and goes on and on and on in terms of affecting things in a maintaining of the outer.
That is the readily apparent way of things, and in the readily apparent way of things in the lower-self aspect of that you have the moods, you have the disposition that just doesn’t quite feel right, there’s the whole orientation to whatever is the little shifts and changes that are occurring that have a quality of coming in as a kind of subtle flow. That’s the lower-self way of just being kind of a creature of one’s environment. Very much oriented in a way to the way animals function, where they just adapt and adjust and react to their environment.
But then the feminine can make this shift to another level of stillness, and you make this shift in your dream when you jump over this rock. Now like I mentioned, a mountain is considered an obstacle, but the deeper sense of how this is to be is understandable is that back to a stillness, and levels of stillness, there is a quality of something imbedded in the makeup of a hard, dense rock that’s very still, but yet still has the makeup of physicality because repressed within it is a vibration that is barely accessible if you can access it in a rock, which is what shamans try to do.
And when you access it in a rock, you are catching up with the future because that’s a vibration that hasn’t quickened itself. It becomes quickened like water eventually when it breaks down. It can break down eventually to a flow that can be in life. But if you’re able to take something and move it through its stages from a density, in other words bring it to a present, an aliveness in the present, but an aliveness as a stillness into the present, not an aliveness that is holding onto a mood or a tone or something repressed therein, but the idea of taking the future and bringing it to the present then puts you in touch with a higher consciousness, or a consciousness of the design – the feminine catches up with this design by this quality, this aspect of stillness.
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