Archive for the ‘Masculine / Feminine’ Category

pollice-versoFrom birth, we are fed a diet of bread and circuses. But many yearn for something more, or have an urge for something more. And that is our most natural urge: to want to fulfill ourselves according to our design and possibility. In that journey we will begin to understand how the world we see veils us from what is really happening. But we have to look for that, and be open to finding it. When we do, then we can make a journey of purpose, a journey that matters.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Okay, I had two dreams, but I don’t remember which one came first because for some reason they felt like the same dream to me, even though they were somewhat different.

In one dream you’re my boyfriend, and I’ve decided I’m going back to graduate school for awhile, and I’ve looked for a place to stay near the university. And there was a home where a woman rents out a lot of rooms in a building. I lived there years ago. She rents it out to all different people that are students.

And I had quite a good, but complex, room at that time, that kind of took up two different stories. Well, I go back this time and I have one room on the middle level of the ground floor, and that seems like good enough to go to graduate school. But then a friend of mine is saying that she’s constructed another room right next to it, that’s near the door even, and that they think I should go get that along with the room.

So I go look at the second room, then I take a relook at the room that I had rented, which is in the middle of the first floor, and it is a very simple room with a bed, a bureau, and little closet, and I can see that, especially because I’m in a relationship with you, if I add the other room it just adds something in terms of privacy and a little more space.

And I’ve been told she hasn’t rented it out, but there’s another young woman there on a cot right then. And then I go across the corridor and see that the room right across the corridor that used to be more spacious now has about three gals renting it who are going to share it all. And I realize that with all these young women that she has in the house, maybe she doesn’t let someone have a boyfriend – so maybe I need to talk to her to see if I can have the additional space, and will it even work; will you be able to get in the house?

And I’m feeling a little badly because I’m not sure what my financial situation is, because I had already gotten one graduate degree, and now I’m going back and taking this course – and is that the smartest thing to do? But it seems to be something I need to do. And I also think that somewhere there’s a closet full of old things that maybe I had left there, when I had lived there years ago, but I’m not sure if it has been emptied out, or even exists anymore.

And now I’m also wondering, you know, if she has a camera on the door or something that means I won’t be able to let you in there. So maybe this whole thing is not the best idea. I’m just not certain what to do. That’s the initial dream.

John: What you’re trying to find is a spatiality in which there is something that exists, within that spatiality. But however it is, and wherever it is, you look, you’re not able to add to the idea that there is something that can exist within a spatiality. In fact, you find yourself so out in the open that there is nothing to hide, nor is there anything to see, or anything in particular to have to be.

So the scenario for you is one in which you are not having to hold down any placement of self, in any given particular way, and that the idea that there is something like that only creates an awkward bewilderment.

Jeane: In the second dream, I have either a boyfriend, or fiancé, and he’s one of I guess what they call the little people, and when he briefly shows me a picture of his family, whom he wants me to meet, I see they’re kind of a mixed bag: some of the siblings are tall, and some aren’t.

And they live on somewhat of a ranch, plus they seem to have an area on that ranch where they have some arenas because they do some type of almost like a circus act. And his family can be tricky to get to know. So he’s going back to see his family before he introduces me to them.

So when he goes back there, and he enters the area where his family lives, what I’m observing is from a distance is at first he kind of runs along a seam in the ground, because it feels like there’s a whole arena that’s covered up with dirt right now, that’s an underground area, where his father and some of the other people are performing. Or that’s their practice arena.

And he goes past that because I guess there’s some way you have to gain entrance, and he goes into another room, and he kind of hides in this little place in the other room, and then these beings – they look kind of like machines, and some of them even look a little like machines that are also clocks, or mechanical and alive, though – come floating in the room. It’s almost like they’re guards and they check everything out.

So he’s like pretending to be a piece of furniture in the room or something. Of course they suss him out, they float over to where he is, and they all have like a laugh because this is like a joke he plays with them, and they see where he is.

And then he goes over to the area where there was the seam in the Earth, and it’s like it opens up and he can drop down into the area where his whole family is. And he’s trying to figure out now some way to introduce me to them, because it’s like there’s even this kind of playful way he gets introduced to them. And that’s all I remember of the dream.

John: So out of that setting, in which there’s nothing to be, or to see, or to do, that’s of your initial dream, the setting, out of that initial setting, that there’s just the spatiality. As the masculine aspect or element is added to the spatiality there is the sense that, arising out of the overall, coming up from the depths of things, is something anew.

And that a part of you is in anticipation of that. In other words, you’ve gotten the spatiality thing down so now you start to have some depth to it, as well, and you come to find out that there are the vibrations of things that you might yet still be focused upon – as if you need to recognize or realize. But, in the end, you find and come to know that there is really nothing about anything that amounts to anything, that it’s all a kind of fabrication.

Well what you’re describing is an emptiness in the full sense of the word, in that there’s this spatiality, in the first dream, and then there is nothing to be taken seriously. Why, sure, there’s the hoopla, there’s going to be this, and there’s going to be that, but ultimately, in the end, it’s kind of like laughable.

To have a dream like that detoxes you from a seriousness, that is imposed, in terms of one’s nature, or predilection. Everyone in the outer has this predilection to take something serious. And the scenario of taking things serious, or making a big deal out of something, and the holding of the space that doesn’t have to do anything like that, is the equivalent of living the essence within.

You don’t have to contend with the reflective conditions. Now, the thing that’s interesting about this is that, if you were to look at yourself and you would say okay, given what occurred yesterday it’s kind of surprising that I would dream something like this. The reason why you would dream something like this is because, deep down, you were able to hold a space in which you weren’t affected, or drawn in, to the drama of the overall outer.

When a person is caught up in the overall outer, the approach can only go to the point of seeing the essence, or the divine, or that which is of interest, or that what one thinks is of interest and value, one can only see that as an inflection from the outer.

Now there’s different degrees of that. There’s the degree to which one thinks that they are having new experiences, and that that’s what it’s all about. And then there are inflections in which one can see that there is just the outer, and then what comes out of the outer is what is real.

You are shifting from this place, and are shifting to where you’re not going to be honest to the greater part of yourself if you continue to conduct yourself like everyone else, making some sort of storyline, or importance, or meaningfulness, out of the reflective. It’s all a matter of degree, going all the way up to where you can see the divine essence coming out of the reflective.

When you take and you shift to where you hold a presence in an overall space, in which the overall space is broad, and then, in terms of above and below, there is nothing going on, it’s all kind of humorous. When you can hold that space, then just the holding of that space changes things because it causes the epiphany of a recognition. That is called being able to live the essence.

Now, to live the essence is to be a part of, or if you were to add the masculine quality to it, you would be actually changing the reflections. The reflections would be coming out of you, and that’s how it appears for awhile, and then you come to know that the greatest of the lived reflections is that in which nothing is occurring, a total emptiness.

So whatever it is that your eyes see, as if it has a meaningfulness, a meaningfulness that you have unfolded as an aspect of the creative beingness of yourself, is laughable, which means that the highest state of living is the state in which there is nothing going on.

So, you see what you were doing? You were going through the stages. You were going through stages of a type of reflective, and then a meaningfulness that arises out of what is perceivable in the reflective, of which there are degrees of that. And then, ultimately, you come to know the quality of holding a space, in a livable way, and learn that there is nothing to be found there in that because the highest way of living something is that of an emptiness.

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Unfolding_SpacetimeThere 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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Logo-ColorThe image of giving birth in a dream is a powerful one, because not only has something new been made possible – in the dreamer – but, like any new life, the babies are vulnerable and need to be protected. So what has awakened, i.e., been born, needs to be nurtured by the dreamer so that the new aspect becomes part of the dreamer’s life and ongoing processes. But, of course, different parts of us want a say in the matter, and that resistance can appear as being hunted, or chased, in a dream. The new is always at risk until it has grown strong enough to stand on its own. (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 seem to be around some family, but I’m almost like in a foreign country, at least some place that seems not like home. And I’m pregnant, and I’ve given birth to a daughter and then, after a delay, I give birth to a smaller baby that’s a son. You know, pretty much all in the same time frame.

And right after giving birth to the son, it’s like I’ve left the place where I am and I’ve gone with a man and a woman that are with me to another home, just a short walk away, because people are hunting me. They seem to want me and the babies.

And then I can hear they’re coming to that house, so I walk back through the woods with my friends to where I gave birth, to the original house, because they’d already searched that. And there’s a convertible there, which is not ideal, but that’s what I feel like we can all make our getaway in. It’s just I have to go into the room first and very quickly sort through what I’ll take with us and the babies.

And then I think I get in the backseat with the babies because they’re taking me somewhere else. Well, where they take me, it feels like I must put the babies down somewhere, and then I’ve gone into this large dining hall, and I almost have the sense I’m in an embassy or something, but it does have this huge dining hall with a lot of people in it.

And once I’m at this embassy-type situation, you have been around, but you’ve gone out to check out a living situation. It feels like you’ve gone to check out a hotel or something, that’s in the city, about whether or not that’s where we can go next. And I don’t seem to want anybody to know what’s happened, or what we’re doing next, so I’m in the dining hall acting normal.

And like somebody comes up to me and mentions that there’s all this speculation that something rough must have happened, because I think they found the room where I’d been with the babies and it was all roughed up or something, and I say, no, it was just an easy birth and the babies are resting now.

I’m just not like giving anything away to anybody because it’s almost like I want to just create this kind of normal façade until we can get to where it is that we’re going next. That’s pretty much the whole dream.

John: So the theme of the dreaming, last night, was that there comes a time, after the catching up with something on an inner level as images, or as qualities, of beingness that this somehow has to inflect into everything else in life.

And so, the masculine way of dreaming it would be to look at it as if there is a systemology, or ten-point plan or something, aspects, you know, levels or something.

The feminine way of dreaming it is that she sees in her nature that she carries something, or holds something, or sustains something, that she feels as an atmosphere, in the atmosphere. Well, she feels it, but then there’s more than just being able to just note it and feel it, so the dream starts off in which you’re in a house in which the atmosphere is conducive to catching up with this quality within.

And so you give birth to something that has a wholeness, both a masculine and a feminine quality. But you can’t stay in this house, so, when you go out of this house, are you able to take this quality, and the atmosphere, are you able to take that with you into the outer, into physical manifestation, so to speak?

And what you’re finding is that, to the degree to which you aren’t doing so, you’re haunted by parts of yourself that can have the understanding, so to speak, of what this inner depth is, can have the understanding in some sort of, we’ll say, subconscious level or something. But in terms of in the outer still it comes across as if something is still affecting you, or haunting you, or throwing you around. But because you have the effect, in a kind of subconscious level, it is almost like you have the inflections of how to go back to how it is that you are able and meant to be. In other words, it’s like you’ve got the masculine and feminine invisible sides of yourself that are kind of like hinting, or causing, you to function inflectively, even though you have issues that you’re not able to quite live and contend with. You’re not able to live this, so you’re still contending with something as if it is still haunting you.

What you’re talking about, in the end, is a realization that what is happening, from the sense that you have from deep within, that if you brought that through totally into the outer that would be a letting go. It would have the sensation of a letting go, as opposed to reacting to this, or that, yet, as if something is still haunting you.

And so, in the dream, the way you’re understanding it, is that you’re not going to be making any big deal out of anything in particular, you know, everybody likes the racket, and the doingness, and the carrying on, the so-to-speak news report of things, and you’re not buying into that because to buy into that serves no useful purpose.

So you’re almost catching up with what it really means to just let go, and that such a letting go then becomes a taking of that which is latent in your nature into a livability in the outer. That’s pretty interesting.

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