A pretty good writer once wrote: “All the world’s a stage.” And in this dream, we see the concept: a play is being put on, and there is a trial in the play. But the dreamer is able to navigate the strange turns of events because of a certain detachment from those events. She is able to handle them better, to flow with them better, because there is a sense that it isn’t personal to her. And that is exactly the viewpoint we need to have to let go of the personal view and flow with life. It’s not about us, it’s about something else – but we learn and evolve as we follow events as they unfold. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: So, in my dream, I’m older, and I’ve been chosen to play the part of an older lady in a play that’s to be a bit of a comedy. And the comedy involves somebody who’ll be on trial.
And I gather together with the four or five people that are going to be putting on the play, but they’re all leaving town the next day except one, who’s a younger guy, and he and I are going to stay back and rehearse. And then when the other people come back the next day we go right to the play.
Well, it’s not the best plan in the world because we just have a brief time to look at our script and then it feels like the people arrive back in town. I don’t know if I have my part memorized at all. Then we have to go to where the play’s being held, but the play’s really not on a stage. It’s like it portrays a trial that takes place, but it’s like the audience members are just sitting in a room like they’re people that would be witnessing a trial.
There’s no stage. There’s a judge who’s up on a stand, but where the witness sits is actually kind of behind the judge so you really can’t see the audience – so that doesn’t work that well for the play in certain ways, but that’s just how it is.
And meanwhile, at one point, I’m kind of worried because I’m not sure I have the script memorized and I have to make sure I can find it, and we’re supposed to play some things as a comedy. And when I’m a little bit out of range of the judge and the audience yet, it feels like there’s some giant turkeys that walk through the area. I mean these turkeys are as large as I am.
And then I go up, but I realize that the part isn’t working that well because the audience can’t really see one. They don’t seem to swear anybody in like they do in a real courtroom, so I’m kind of concerned about the authenticity of anything. And then when I’m up behind where the judge is, I read part of my part and so I’m being quiet for awhile.
Then it feels like I kind of shift into another realm up there, and I’m on an outdoor area and I see these relics a little bit out of reach. It’s almost like as I look over I just see a place down along the, it’s almost like along a cliff. It’s like a pouch that’s hanging, and I can see inside the pouch because it’s open.
There’s a carving of like a Native American man with a spear. It seems to be made out of gold or amber, I’m not sure which. Then there’s a second relic that I don’t remember exactly what it was so much, but I go to reach the one because I feel like I want it for a cousin of mine, a guy, but it breaks into three parts. But I manage to retrieve those parts except the spear is outside the pouch, and so I have to reach over and grab it.
When I do that, then I find myself kind of clinging to the side of the cliff and having to grab a tree root to try to get back up, and one root breaks off, and then I grab the other root, and I’m able to bring myself back and bring the relic back – but it is broken. One of the relics, which is for him, is broken into a few pieces. The other relic seems whole.
And then I’m back in the courtroom, kind of behind where the judge is, and the giant turkeys show up again. And you feel like they can peck you all of a sudden, so I find some feed and drop it down on the floor, so that they kind of are distracted by that, and someone can then grab them, or remove them. And when I do that it feels like I’m suddenly in some other realm, because it’s nighttime, and I think that’s when I wake up.
John: I really wandered as you were describing this because what is going on with the quality of the soul is that it is more able to move around, in the sphere of manifestation, and able to perceive and see more because it is not so overly consumed by the physical outer conditions that, for most people, predominate in such a way that one doesn’t come to know this other side of themselves that is able to let go of things.
So that was like the general overall schematic of your dream that I was experiencing, but not so much in terms of what I was following in terms of what you were saying. I was kind of like swimming in this other state, almost like being taken on a listening journey to a way of being that isn’t so nailed down, or dense, that one has to struggle to understand what there is behind the dream images that is trying to come out.
In your dream it seems as if you were just kind of free flowing with it, with something behind all of that. It is that kind of wandering around like that. In other words, it has a quality about it that isn’t all totally indulged. It’s able to just kind of take in a sort of general free flow.
The idea of turkeys wandering around, and putting feed out for them to eat and whatnot, is again a type of settling back, you know, where you’re accommodating the situation and scenario that you find yourself placed in. You’re accommodating it. It’s like you’re going along with it.
The reason why it leaves one kind of feeling old is, you know, the whole standing back and looking at what has transpired, and where one doesn’t have a heavy indulgence factor that comes into play. The reason why there is the idea that one is old or something, is that a perspective of a more youthful side of yourself would’ve had you taking the situation in front of you more seriously, and been more indulgent with it, and more caught up in the straight away dynamics, the straight away outer dynamics. And somehow or another, because you’re not doing that like that, like you had habitually before or something, you wonder about what’s the matter with you, in a way. And, of course, you could say, well, I’ve let go.
Well, why did you let go? Did you let go, because you suddenly became feeble or helpless? I think you let go, and I think we are letting go of things, because there are other aspects of a greater beingness that we’re able to hear and see inside of ourself that, ordinarily, we don’t or aren’t able to glean because of the way, in an outer, we have been inclined to be so tritely indulgent.
In other words, if the idea is that manifestation exists for the creative force of energy to see and hear itself, it is not going to perceive that much if it gets all caught up in the reflection of things. But if it is in a state or place in which there is the outer going on, but there’s the inner realization, too, then you have a kind of inner hearing and seeing that exists behind all of that. So you see yourself more as going through the motions but not all swept up in making the end all, be all some outer aspect.
That I suppose can cause one to feel like, what’s the matter that you’re not doing it like that anymore? Because you, in the past, always did take this stuff so literally, and now you can’t, because there is something more. Which then begs the question, that if you’re now able to hear something, and to recognize something, in terms of a flow, and you’re able to be more light handed about going around, and through, and in and out, of life in the outer, with kind of this inner quality there, too; what is meant to occur now? Where is this meant to take one? What is it that one is meant to do? Because you can’t buy into the indulgences like you did before, so now what?
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