The Correspondence

Crawford, Hugh Adam, 1898-1982; Orpheus: The Wooing of Eurydice
Hugh Adam Crawford

For things to come together, certain criteria need to be established. A bee won’t visit a flower before it reaches a certain stage of development, birds won’t come to an area before their favorite food arrives, and humans can’t make a connection if certain requirements aren’t met. That’s why, in the natural world, everything is always trying to make itself right for what it is trying to attract. This same process applies to our inner lives, with the masculine and feminine aspects seeking a connection, but one that can only be made when the terms of acceptance are reached. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Then I had a series of dreams I don’t recall. In the last dream, I recall it’s like my sister and I are going to visit the house where my dad lives, and, in this house, there’s now a room that has, it’s almost like a rotunda-type room, where it’s got a round ceiling and walls.

And what my dad’s been doing, in that room, is he’s been putting plaster of Paris designs, like a fleur-de-lis for something, big ones, around the rotunda, and then gilding them gold.

Now my sister feels, and I kind of feel, this is, you know, kind of way too ornate, so my sister’s upset about this. But I’m telling her just to chill, because if my mother comes back, or whatever, you know, and it is probably too ornate, you know, it can just be painted over – so it’s no big deal.

It’s like my dad’s enjoying doing it, and, you know, even if it’s not quite our style, he’s having a good time doing it – and it doesn’t matter. It’s like if mom came back and wanted to change it, then she’d change it.

John: So that’s repeating the first dream, basically, except presenting the energetic in a slightly different motif, where the masculine, which represents the gold, is coming down, and it’s gilding the building, or the beingness, of it all.

And, the feminine principle, the part that’s represented as your mother, is asleep, is not being touched, or affected. The part that’s representing you and your sister, which is trying to awaken, and trying to take into account and keep up with a quality of honoring, that is important in the equation, which is like the prayer quality, it’s got its divided opinion as to what is taking place.

You have the sense towards a stillness, towards a letting go, that is a sense that is the right sense to have because that, then, can result in something that can be woken up. But, as long as there is the commotion, and reaction, in-between, in terms of whether it’s right this way, or right that way, prevents something from being able to find its correspondence.

In other words, your dad’s doing something with the gilding gold vibration of a building, of a beingness, coming through into life. He’s doing this in a particular place. And that’s what it looks like in terms of a sight. The touching of something in manifestation looks to touch at a particular spot.

And then what rises up, the maiden energy, or the feminine energy, that rises up at that particular point, well, it’s not rising up in an acceptable way. It’s leaving something off the ground; in other words, your dad’s a little off the ground.

The deeper feminine mother principle is still asleep, and the other is sitting there, and looking at it, in a kind of in-between capacity yet, with the advice being to sit, to wait, to accept. That if there’s something that has to be taken into account, or handled, in relationship to that coming down as the seed of things, the mother, the feminine, it will, when there is the coming together, then, it will respond as need be.

Do you see how that was the same dream?

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