In Transition

silence-and-the-spiritual-journey-sideHouses in dreams often speak of the internal life of the dreamer, and here we have the image of trying to leave one inner space to get to another. And, just like in waking life, it always requires that we let something go as we move toward something new. Yet we’re usually not completely conscious that this is happening, so we can be unsure, or hesitate, as the transition occurs. In times such as these, our dreams can ease the way because they can show us in one image what otherwise might take us weeks or months to sort out in our waking life. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: My dreams from last night were hard to pull out. I just have a fragment that I recall clearly, and in that fragment it was like at one point I must have been living with a couple that I knew from New York, except in the dream we’re someplace where we’re living almost like in a hut. He had left. The woman is still in the hut, his wife, and I had left the hut and I had gone a ways, about a block or so, to another hut. And it feels like this is a hut through which I can leave.

I want to leave. I wanted to be away from these people, and I didn’t really want them aware that I was going to be away from them, by making a payment to this other person, and the payment I’m making to this other person sitting in her hut it’s like I’ve whittled a stake of some kind and then painted it.

It was like a long stick and I’ve painted some design on it. It was about the shape of like a thing you make fences out of; slat? But it was smaller.

But the man there, either the man or the woman of the couple, I forget which, it feels like they suddenly come by unexpectedly, so it’s like I try to slide what I’ve painted kind of across to this woman so that they don’t even see it. But I feel like they did get a glance at it because whatever I painted, that design I put on there, was kind of my way out. The woman seems to be the one that can give me the passageway out of the village.

And I like her, but I mean I’m giving her whatever I made; that’ll give me my passageway out of the village. But it’s almost like I don’t want the other people to know that I’ve done this, or see what I’ve done. That’s all I really remember.

John: There was no sadness there, was there? Because it sounds like it’s a type of shift, or a transitioning, and you’re shutting down something, or ending something, that had been, which means that that is shriveled to a small hut. And then you’re starting with another small hut but you’re having to take and bring your energy across to that. You’re having to pick up the momentum of that – and the first thing you’re doing is adding color to the situation.

And none of that backfires on you. So it sounds like an image of a transitioning. The reason why one would wonder if there was any sadness would be to see if one was actually running away from a part of themselves, or shutting a part of themselves off, that they shouldn’t be shutting off and trying to make some sort of glorified aspect illusion or something – in which case, if that’s what one was doing, the process would, in spite of appearances, would have a sadness to it, but it doesn’t have a sadness to it. You don’t denote that. Instead it has the whole sensation of making a transition, so you’re shifting.

And they’re both small huts. And it all starts small, whatever you’re shifting to, it’s going to take awhile to get that into something as a greater beingness. And to start off with you’re establishing your space. You take and you’ve got your picket fence, and you’re painting it, and more or less announcing your new presence.

I guess it’s a kind of dream that one would have when one feels that there is some sort of transitioning, when you sense that there’s some sort of transitioning, that you’re having to contend with.

And, of course, the shift you’re trying to make is, you still have the old, and what you’re trying to do is you can’t fully go from the old to the new. You’re trying to hide that, and so whenever you try to suppress or hide something, it still has a quality that drags on you. But to jerk yourself forward, you’re painting and decorating up the new yard of things.

The key is, I guess, the reason for a dream like that, would be to bring yourself to an attention in which you can notice the vibrational changes. To begin with one makes a change and you’re not quite sure what the vibration feels like. And a part of you has a good sense that it makes sense to do this, but you’re not quite convinced, and so you do things to try to make it clearer.

So basically the importance of this dream is it’s a type of dream in which you are going about a process to try to tune in your listening center better. In other words, in manifestation everything vies for the heart. And on the level of listening to how things vie for the heart, in other words, as an aspect of shifting to the world soul where you actually develop the keen true listening, you have to yo-yo back and forth to try to get this clarity that’s outside of yourself to come through.

So until that comes through, in some way, in which you have invisibilized yourself, you’re going through certain motions, energetic motions. And so in terms of your personality and your being you feel a certain thing as an identity, as a differentiation, in terms of something that you need to shift or feel you need to shift away from. It has a hold of you in some fashion that isn’t acceptable in terms of you just evaluating this, in terms of the heart now, which is a type of personal.

So you then make the shift, and then you have to do some things to try to see how it resonates, how it really feels. You’re still playing in a realm of duality as you’re doing this, because you’re working with the heart vibration, but it’s a precursor step to learning how to listen. And the listening that you need to key into is a listening that becomes really amazing. It becomes that way when you are able to take away the dynamic that has to do with an orientation of this, or that, as experienced in the heart, because when you take that quality out so that you are able to then recognize the flow and the vibrations as they exist in the soul level of all of life, you being a part of everything that exists.

If you take yourself out of the equation of seeing yourself in some particular way or another, then your listening center becomes acute and is more acute in an unfolding wholeness. But there are stages. You might say that there are stages of the heart, which is having things vie for it in terms of a sorting out way, that’s important to trying to find, you know, from a perception of manifestation orientation, it’s important in terms of trying to find what the proper cadence needs to be in that way of being.

It becomes important that you start to notice that you’re torn back and forth, that you’re suppressing things in order to exemplify something else. As you do this at some particular point whatever it is that you reach for, you have to let go of, too, because you realize that you’re still playing with the dynamics of a kind of possessiveness or physical orientation.

So you’re dreaming this whole kind of energetic mannerism like this, only in your case the dream is like a precursor step. Your last stages of a quality of vying back and forth and reorienting yourself and juggernauting between this hut and that hut, are kind of like steps on the way into accepting a greater wholeness. And you’re trying to get it so that you can hear it better by decorating the picket fence and everything, but it’s still being heard in a peripheral way. That’s an interesting dream, huh?

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