In chase dreams, sometimes we are fleeing to avoid something that is new and unfolding in our inner life – that some part of us feels we are not ready to face. Other times the chase is because we are trying to outrun the clutches of the old patterns and ways that are preventing us from progressing on our journey, which is the case in today’s dream. Here, we can understand that totally fleeing (denying, in a way), may not be the best solution. Sometimes it is best to embrace our consciousness of the issue, and defuse its power over us by shining a bright light on it. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: Well, I remember one dream. It’s like I’m in a jungle area, and there’s a warlord there who grows drugs, and he’s trying to hunt some of us down to kill us. And I’m not sure where the others went to, but I have gone inside this little hut to hide, and crawl under what looks like a blanket of something on the floor, or an old tarp or whatever, and pulled it over me.
And then he has his people out hunting for us. One of whom, they almost look like pygmies, some of these people, one of them this little boy-looking person starts to kind of pull up the tarp, but it’s almost like he’s actually looking through grass, like he’s hunting for me. There’s a hole there, but he can’t quite see me, so he has to keep crawling in deeper to see if he can see me.
And he has something like a blow dart gun, but it feels like by the time he crawls in a certain point, to where I am, he passes out, or he agrees to hide with me. So, because he let me hide, I know that if the warlord caught us he’d probably kill him as well as me. Because I feel like he’s killed the other people I was with, or captured them at least.
So I had the boy pulled all the way under the tarp with me, and he seems unconscious, and I kind of tuck the tarp in around us, and the warlord and his minions or whatever, at one point come into the hut and they’re walking around talking, and maybe they even kind of shuffle the tarp that’s covering me a bit. And I keep feeling like I’m going to get uncovered, but that doesn’t seem to happen right away; there’s just a tension about it.
But at some point, because they’re going to uncover, it feels like I get up and escape out of the hut – and they know I’m loose, now. And they start hunting me, so I have to stay on the run. And I run into the jungle, and I come to what’s actually like a doorway, and it’s a huge wooden doorway. It has actually almost like two levels, you know where the top can open separate from the bottom, and it’s like I’m climbing up it, and maybe I get the top portion open. And then I see there’s another doorway a few feet behind it just like it.
And I finally kind of get through that, too, because I know this man’s hunting me. And what that does is it puts me into another jungle area. And it’s an area where I see even a scene with a slight plain, and white tiger, and another jungle cat there. But up on the hill, I see a man who’s like a movie director, with actually like an accent from Iowa or somewhere, he’s there making a movie in the jungle.
So I go over there. The big cats don’t seem to bother me, even though they’re there. So they feel a little menacing, but they leave me alone. And I go over to where the director is, but I realize he can’t really be any help, he’s just there making a movie. They wouldn’t know what to do with a warlord who’s chasing somebody, or killing people, in reality.
So then I go up through the jungle and I find a little village, and I see the people in the village are kind of natives of some kind, and I go up to a counter. And it feels like I actually buy something and they when they give me back change, they give me change back in at least one big silver dollar and some other silver, I think. And they’re helpful, but I also realize that you never know, that this is kind of one of those port towns where information is valuable. So at some point, someone’s gonna feel like they can sell me to the warlord, or something, and my whereabouts, so I can’t really confide in anybody. I have to keep trying to get back to where I’m going. Even if I like people, I just have to kind of keep on the move.
So I get my little purse with some of the silver coins in it. And this time I leave the little village and I go down to the waterfront. And it feels like several times I’ve gone out on the waterfront that I kind of feel like somewhere along this waterfront will be an avenue back to where I’m going.
And then I run into some people and they tell me they’re trying to sail for, I guess, where I would consider home. I consider them a bit flaky, but I look out and I see the water, and there’s areas where the water has turned this beautiful blue-green color, it’s like ocean now. And I’m thinking maybe I’ll try to go out on that water with them in a sailboat, and see if I can get to where we’re going. And I think that was where I woke up.
John: So, the theme of the dream actually starts at the very beginning. And then you have the abstractions that come off of the theme of the dream.
The theme of the dream has to do with being in kind of an abided stillness. And the whole schematic of the dream process has been more and more information about the stillness, the stillness that is a quality in our true, who-we-are, beingness. And what you’re doing is you’re actually portraying, in your dream, a quality that one came to understand a few nights ago, in which when you have adopted a kind of mannerism, nuance, bifurcation, however you want to say it, that the world around you takes on that quality. You have an agreement world in relationship to that demeanor.
That agreement world, because everything is a composite of the breath going in and out, there’s all kinds of things that can be found along the aspect of the breath, that will add or support an identification to being at a point in the breath. And when you’re at any point in the breath, you are, then, living something in manifestation, and have that as your world. If you were to see the stillness in relationship to that, it would be like night and day difference. But, instead, you experience kind of an echo of something that you’re trying to get back to, as if you still carry the memory of the thing at the very, very beginning.
Well what is really interesting, and positive, about the quality of the bifurcation is that you have the ability to bring it in, to, so to speak, pull it into your nature enough so that you can fully take on the bifurcation – as if you can then pop it. And that occurs when you, in being lost in the abstraction, take on one of the minions of the abstraction that is normally part of the problem within the abstraction. And you’re able to try to get it to come out of its unconsciousness.
And it isn’t quite able to come out of the unconsciousness, but you’re able to take it in. That’s like a hint and a hope that, okay, you can drop this. But that’s the only aspect that’s kind of positive in terms of you almost breaking through, because the rest of the dream has you still under the dictums of the effect, the vibratory influence that has you going this way and that way, this way and that way, continually contending with something that is there. But the fact that you, at one point, were able to usurp one of the minions, even though that wasn’t quite sufficient to get the energetic out of it that takes you back to the stillness, because it was in an unconscious state, and mode, it was a big hint to what is subtlely echoing behind all of this.
Now it’s a very subtle echo; it’s something that is so subtle that you can’t quite just go into, but it’s there, even though you have this whole dance, and array of things, that is consuming your attention in terms of you having an identification, a reactivity, a mannerism that is still caught on some aspect of the breath.
The key that’s interesting is to try to take and look at what aspect of the breath is it caught on? It’s not caught on the out-breath. That’s what’s interesting. It’s only caught on the out-breath to the degree to which you are perhaps trying to do something, but it’s more caught as a mannerism on the in-breath. Why is it denoted as something on the in-breath? Because you’re haunted, you’re afflicted, it has a quality that affects the way you carry yourself as an energetic, your mood state, and such. And all of that is oriented as kind of a spiritual illusion aspect of the in-breath, the thought process and the mannerism of something coming through. It does not have any qualifications to it, it doesn’t have any judgment, necessarily, in terms of value orientation. When you are fleeing something, and trying to push something off, you are doing all of this based upon some sort of value identification orientation. So, it is a dilemma, in terms of the in-breath, a veiling, in terms of the in-breath.
And the thing to understand, of course, that is the predominant characteristic of process that has to do with stillness, is that the breath – both the in-breath and the out-breath – are what holds manifestation together, are essential for there to be a manifestation. And the fact that there is a manifestation means that there’s a journeying.
And when you take the breath out, then you have a whole different demeanor, in terms of what you see things, because you’re not imaged in some sort of bifurcation of self that you look at, and identify with, and relate to. You are, instead, in something that has an overallness, an all-inclusiveness, an intertwinement, and are able to be just unfolding, as opposed to reacting. You’re just unfolding, because you’re able to be in the stillness as your primary attention, as opposed to it being a very faint, having to wonder where it’s at, still in a bewilderment kind of distant echoing that is being drowned out.
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