There are two ways for something to unfold: according to what we think is best, or according to what is best for that thing. Whether we are raising a child, or trying to bring an idea into reality, there is always an urge to control the outcome. But what we really want to do is give something new its best opportunity to fulfill itself. And this applies to a child, an idea, or an inner awakening. And deep down we know that we can’t really control things, but we can help usher the new into life in the most opportune way possible, as a service to the whole. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: Well, in the beginning of my dream, I seem to be at a railroad station. There’s railroad cars there, and I’m helping a young woman kind of move around from one car to another. I feel like the cars are somewhat stationary, and maybe she had gone through a loss of some kind, because I’m helping her get used to a new railroad car, even a railroad car where you might sleep.
But I know that she was used to something else in the past, a different kind of scenery, maybe a different kind of car, so I seem to be helping her adjust to the new railroad car, or focusing on what’s positive about it.
And I seem to move from one car to the other and just noticing some of the differences. And then it shifts slightly…
John: So the scene that you’re setting, initially, is the overall balance, or the overallness of the situation of life. You’re bringing in what needs to be included, or available, for purposes of a wholeness, a wholeness that is like an overall presence that you have a responsibility over, more or less the greater warehouse of yourself.
And you’re taking this in as additional information that you hadn’t been noticing, or aware of, before. What’s interesting is that you’re doing it more or less casually, almost as if you’re surveying the overall environment. In other words, you’re gathering the components, so to speak, up. You’re taking into account a bigger picture, so to speak.
There isn’t any motion yet. In other words, you’re not at that stage of the process where something then gets put together for some directive purpose or another. At this particular point, everything is a myriad of different train cars.
Jeane: In the next scene, which feels like part of the same dream, I’m kind of assisting with putting on a dance. It’s more like a ball almost. And down below there’s a man who seems to be in charge of it, and then when I go upstairs, I find a young woman who’s kind of a tomboy that’s almost hiding. She’s shy about going to the dance, and I seem to be assisting getting her interested in coming to the dance; kind of pulling her out of her shell a little.
Then I go back down to where he is, and when I look back up, she suddenly shows up ready for the dance, and she’s died her hair into this cute little blonde do, and she is wearing this formal blue dress, and she’s just really excited like someone who’s actually going to their first dance. She’s just kind of glowing all of a sudden, instead of being like this shy tomboy that was hiding out before. And that was the second part of the dream.
John: So, the first part, of course, was the establishing of an overallness, in other words, the components of one’s self. The components of one’s self, when put together as a wholeness, create an alignment and a presence that has an effect that draws what is needed for purposes of it being able to see something more about itself.
And that principle is the feminine principle of longing. So you have, first of all, the getting to a point of a type of letting go of things – which is really more of an incorporation of greater wholeness. Instead of having something that’s in the way, you’ve let go so that you can incorporate a greater presence, an overallness, as the greater beingness of yourself.
And then you are able to hold that as an energetic that is able to be accessed, or reached, or touched by the masculine principle, which draws to itself in order to set in motion a process in which something is able to occur, through this longing, that suggests a flow.
Jeane: Then, in this third part of the dream, initially, I’m taken to somebody’s church, and the first time I go to this church I just kind of notice how it is, because it has a side area where you sit, and then kind of like glass doors, and the main area facing where the preacher would talk. And then another area to the side and back, and I just seem to notice how the church is laid out the first time.
The second time I go to the church, initially, the person I’m with insists that I go into the main part of the church, up near the front, and sit on this bench next to a couple who have two little boys there.
Then they leave, but then as I look around I suddenly see that one of the young boys has this pillow, and he’s glaring at me a little, because obviously they sat me in a spot that he considered his spot, or considered important for some reason, so he and his brother are looking at me because they really want where I’m sitting for whatever reason. They had kind of claim to it, in some way. One of them is even carrying this big pillow. Maybe they were going to stretch out a bit.
So I leave that area. I go back out to the side area, and then to an area right behind it, and sitting there I notice a friend of my dad with his wife who’s kind of a bit neurotic and not very well. So I go over and I help her stand up because she needs some assistance in standing up, and getting out into the aisle, and maybe knowing where the bathroom is, so I decide that I’ll assist her. And that seems to be the end of the dreams.
John: Well, the end of the dream has to do with a quality that takes what you consider a flow, or process, that is commodious in terms of the outer state of things. That actually avoids the understanding of what it’s like to have established enough of a presence so as to have awakened, or quickened, the inner magnetism of something that is moving around, seeking to come out, which is represented by the two boys.
And the thing that’s indicated is that, in that image, there is a part of you that holds a space, but there is another part that is displaced. And so the question then becomes, how is this to be? In other words, what’s the right protocol when the part of you that is displaced doesn’t quite make its connection?
The part of you that had sat in that space is inclined to go off and contend with things in your own way – in an outer familiarity. The thing that’s hard to understand is how, and what, is involved, or required, for an insight and a natural quality of holding a space, how is it possible for something that is holding a space, and that which is an insight that has something in common with the spot, with the space, but when that space is being held, how is it possible to bring the insight and that spatiality together?
Because if you don’t bring it together, things unfold, but something anew, as an awakening and as a greater depth, doesn’t quite come across. It’s there. You can sense it there. You can tell that it’s kind of like a relationship that doesn’t quite connect, that there is the shock spark recognition almost, but still a stepping back from that, and back into a more familiar engagement process – in terms of a way in which one sees themselves in the unfoldment.
So it’s like an image of coming close to a crescendo breakthrough, but that which is anew, that which brings inner totally into outer, and is the revelation of something new, is close, but isn’t quite happening. But I mean you’re looking at it, you’re seeing it. You’re seeing that something is almost, almost there; almost took place.
It’s like a three-step deal. First came the setting of the table, so to speak, in other words getting everything at hand. Second came to holding that which is at hand, so that it could invoke something. And third came that which is invoked coming close to something more that could spark, and it was so close that it’s a wonder that it didn’t quite communicate.
And as a result of a step back from it, a familiar action, within the context of an environment that is quickened, a familiar context unfolds on the side instead.
So it’s like a depiction that’s like a harbinger of things to come. The theme being that there is kind of a harbinger of things to come, and there are abstractions yet that are just a tiny bit in the way. I guess you could say that is a bit of the theme of the dreaming.
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