Our experiences each day trigger different aspects within us. And, in the internal processing we do because of that, our dreams can give us a status report. Here we have a little fish – too small to keep – that must be thrown back into the water, back into the unconsciousness it arose from. When we see a child in a dream, or anything young and in a state that still needs to grow, or needs protection, we are being shown another inner aspect that needs further nurturing. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: In the other dream I remember it felt like I had taken somebody, I know it’s a guy, and I’m taking him down to this glen and gotten into a rowboat. I know there’s some seaweed in the water, or something that looks like that.
And it feels like I want to catch some fish. But my line goes in the water a little too soon, and the fish I pull up is a little too young and looks too much like a sucker to me. So I want to get it off the hook because I do want to catch fish, but it feels like the timing was off there.
And that wasn’t quite the fish I wanted to catch; it didn’t look that edible. It was more like just an accident. And we’re kind of gliding through the water, which has a little bit of seaweed in it. That’s all I remember of that dream.
John: Well, if you were to take that image as a type of revelation, what you’re basically saying is that you’re capable of feeling parts of yourself that don’t quite feel copacetic to that of the heart.
And so the heart is reaching to something bigger and so much more. And that you have to keep letting go of the little nuances, and the little things that have you abstracted, in some degree or another, which in this case is the little fish. Because you’re dealing with fish, you’re dealing with consciousness. So you throw back that which isn’t a completeness, or wholeness, to your being, or an essence of your being.
Now, this is also an in-between dream, it’s an in-between dream because you’re talking about the subject of consciousness as opposed to stillness. And consciousness still has an action, or a motion, about it. It still has an identification orientation, in that there’s such a thing as the big fish. And there’s such a thing as the little fish.
And so it’s like the type of journeying yet where you’re opening up to more, and more, and more of a depth inside of yourself. So you’re still on an aspect, in this this dream, of the in-breath where you’re still in a process of going, so to speak, to a home or a stillness. And you haven’t reached that, yet, you’re aspiring towards it.
It’s an interesting image, though. It’s used in the Bible and whatnot, and that’s probably why you pulled all of the symbolism out, in terms of the fish. Well, the theme of the dreaming was kind of a nature of a step back, a step back in relationship to having to contend with what’s going on, so to speak, almost as a whereabouts, based upon, you might say, a scenario. And the scenario you could portray to be like the scenario of Lee’s family, and the congregation, you know the event that we did at church.
And so that was the loudness, so to speak, that was in the outer, that when you take to the inner, you spin around to see what is going on in that. Ordinarily, we don’t spin around that sort of thing. But, in this particular case, it was the food, or that which we invibed to take into account, to absorb, so to speak.
Ordinarily, we have a sense of what is outside of the breath, of just the stillness, the emptiness, but the environment that we were in, yesterday, the scenario of what we were in yesterday, is caught in some aspect. The aspect that they’re caught in is all in the in-breath. It’s not an out-breath orientation. It was an in-breath orientation.
And so, in taking a step back to deal, or to be, with that, because you couldn’t sit in a stillness, you can’t sit in an absenteeism, to take a step back to deal with it. And one doesn’t know how to maintain something that’s completely reflective, so in taking a step back with that, your approach was to spin it a little. My approach, rather than use the word spinning, was probably to contend with the vibration of that, in terms of how it had its motion, and knowing that the motion was pointing to a nucleus, or to a center of things, and to try to have a mirroring, revelational inflection that did two things.
That, number one, enabled them to look at where they’re at, because they’ve been through a lot and so you take that in a neutrality. You don’t take and beat up on it by the fact that it is holding them in a trance, in a tone, in a mood and a bewilderment, in kind of a confusion. You don’t beat up on that. What you do is you notice that it is pointing to something, they are traveling towards something, they haven’t yet caught up with that.
And so, the actions that they are in, or the moods and whatnot that they’re in, are like verbs and adverbs that modify towards something that they still see as a principal thing, which is like a noun. Now we know this to be better than this. We know that what it really is about has to do with a stillness that is outside of the breath. And that this is still something, and everything about the congregation was still something, that had to do with trying to accentuate a quality of a traveling in the in-breath to a sense of something, the sense of something being more like a essence, that’s more like a noun, yet, instead of the stillness.
The minister did say, however, something very profound, in that he said that after each song try to notice the stillness.
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