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Pierre-Marie-Brisson

Pierre Marie Brisson

A battlefield, or a war zone, is a strong image to have in a dream. Whether we are speaking of waking life and the wars that are always happening, or the war we personally wage in our life “against” the struggles of the world, or the internal war that is at the heart of our spiritual journey – the war between the ego temptation and gratification of the personal, and the expansive connectivity of the universal. Only one of these options is worth fighting for, and only one of these options makes the other two inconsequential by comparison. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in this third dream, it seems to take place in a foreign area that reminds me of maybe medieval Japan or, you know, it feels like a time long ago in a country that almost has a fairytale quality of China or Japan.

There’s been a war or something going on in that land, and I’m with people that have been surviving during that. It’s time to get out, and I think there’s three of us or maybe there’s… Well, there’s a little dog, there’s a man, there might be a boy, I’m not even sure which one I am in a way, and it feels as though it’s a time maybe when they think about the war as having ended and they’re getting out of the country, or the countryside, and we’re looking at how to venture out.

And I find a horse, and put the dog up on the horse, and then it feels like one other person can ride on the horse and one person can walk alongside the horse. It’s a big horse, but everyone is a little worn out.

But as we go across the landscape, I suddenly see some water trickling in and I realize that what we think is solid ground, the person who maybe had contracted with the government to build that section hadn’t really done what they were supposed to, and I can see that it’s going to wash away.

And then it feels like I kind of fly out over an ocean, or water area, and I see bodies in the water. And I see the crocodiles, actually, like I skim the water right above them. And it’s as though I’m looking to see what’s in the landscape, or where we can go, but there’s really not a sense I’m not sure we’re going to make it, actually. It’s not like I’m worried about that. It’s more like I’m going out, and scouting, and looking around, and seeing what kind of chaos the entire land is in. The way it’s been devastated by the war, and by people not really doing things the way they were supposed to have done them, like the contractor.

But we’ve done the best we can. We found the horse, and I’m looking for a route out.

John: So the horse is a power, and the horse is a presence. And that presence is all-effusive. And it’s meant to be of a quality, meaning all-effusive, it sweeps through everything. It’s meant to have a quality that, in doing this, it pulls everything within. And, if it’s not capable of pulling everything within, then you’re going to have crackup, or you’re going to have a breakup, you’re going to have a situation in which things are going to fall apart.

And so this is like a big jump dream. You jumped over something. How is this possible? This is how things get changed and shifted in a very, very fast way in the outer. The shift is from the inner. The shift is from the essence. The shift is from the stillness. The shift is from a quality of a presence that is so all-effusive in its wholeness, and in its stillness, and in its quietness, and in its emptiness, and as a light that it takes into account everything – or can take into account everything.

But you’re seeing that it hasn’t yet. And you’re seeing that there are things that are falling off by the way boards, and getting swept away, and things like that. That chaos still reins, that the breakdown is continuing to happen.

Now, you have to put this in conjunction with, let’s say, the first dream, because the second dream was kind of like a blowback thing where you’re dealing with the dynamic of something, and you’re going back and forth within the dynamic of something, back and forth in terms of yourself, to see if you got the spiritual muscle or something – as if there is something like that. That’s still reflective a bit.

That’s the middle. So it’s kind of like you did a one, two, three in which the third is the new information of how something can just be shifted and transformed by a quality of wholeness.

The second has to do with the price that’s paid in terms of how this goes back and forth in relationship to inner and outer, and it’s very straining. And we come with an outer physical conditioned body to have to try to do this, and can only do it up to a point because the name of the game is you are placed in the reflections and then trying to work out of that.

To the degree that you don’t, I mean the body pays this price little by little. And in the first dream you were dealing with something that was a zone. In other words, for whatever reason that was both inside and outside of time simultaneously, and something that’s inside and outside of time has the characteristic and the quality to be able to hold the wholeness of the environment that it is surrounded in. And if it doesn’t, like in the example of someone tipping over in their chair because they couldn’t handle something going to a greater level of stillness acuity, and they still had their outer defense mechanism that required a certain degree of commotion, or chatter, of the density of things.

So what you’re seeing is that you have to have a quality of the heart. Is it the quality of the heart? Yes, it kind of is because the heart cannot be affected by reflections. The heart has to be in a state that’s able to hold whatever comes as reflections at it, because if the heart still has to vie with something then it will get caught not being able to fall into the emptiness, into the spatiality, that has the power and the presence like a horse, that it can affect all of the land, meaning the land in this case everything that there is.

Because if it can’t, if it doesn’t, and you do know with the horses like you say in that dream, you found the horse, but if there’s the flickering, and then it isn’t sustainable enough, then there’s going to be breakdowns or, in this case, continuing collateral damage.

You know if you think about it, it’s what grieves a teacher, because he realizes that things are continuing to breakdown. You know, people try to throwback: “Well, there’s always grace,” and stuff like that, which, okay, sure, yes, there’s always grace, but haven’t you noticed we’re still breaking down, we’re still destroying ourselves, we’re still not able to shift in some capacity, we’re still not able to fully take a responsibility of a wholeness on an energetic level within, so that the effect of all of that permeates as an emptiness, as a nothingness, and replaces the dance of all of the reflections.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Replacing the Dance

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coin_flipWhen we find ourself in a new situation we test the waters, so to speak, by dipping our toe in. Then, when we realize things are safe, we can proceed deeper into the process. It works just like that for us on an inner level: when we have something new awaken in us, our system needs to test out what the effects are of this new presence. And, ultimately, we are trying to assimilate what has opened up from within into our daily life, so we are seeking to find a new balance and settlement as we continue to progress on our journey.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, this is a dream that has one point or two points in it where it shifts some. In this dream, I’m going to visit the home of a family. There are parents, and they have two sons that are very close in age, like they’re probably high school seniors or young college age.

And the house is very low and spread out, with a basement level as well the ground floor level, and it’s a little bit chaotic in there, just in a sense that sometimes it’s like there’s a lot of different things in the rooms. I remember like later in the dream there’s a time when I was looking for a bathroom and I saw a door and I open it up, and behind the door is something that looks like a cross between a fireplace and a white limestone shrine, it’s been made into a shrine whatever it is.

And some of the rooms are kind of cluttered, but they’re cluttered some way that the mother’s organizing things. And at one point when I’ve gone over the mother wants me to go to the basement and talk to a group there about the trip to India. It’s like when I first go down there’s a few people there, but when I turn around there’s a huge crowd of people – and some of them have broken into small groups.

And I seem to get a little discombobulated and feel like my talk is awkward, which it was. When I talk to the mother about that later she just laughs about it because I had kind of gotten thrown off by how the crowd was, and how it kind of went into these subgroups all over the place, and how it seemed to multiply.

Then there was almost like a shift that was different in a sense, the first shift. In this first shift I’m suddenly in a room with our friend, and we’re trying to climb somewhere. We’re trying to shift somewhere in the same house, but we have to climb up and over a partition.

And when we get kind of to the top of the partition, I notice it’s like a big spider that I’ve pushed out of the way, or brushed the web away, or something. Well, then, the spider suddenly came right back up at me – and it’s a big spider. The head must be as big as a quarter, and it has like a body and then legs. It didn’t look like a normal spider, but it was a spider in the dream.

And so I would push it up, and I would knock it down, and send it all the way down to the floor. And then it would spring back up, and I would kind of grab it behind the head and try to hold it. About the second or third time I did that the spider bit me really hard on my hand, like between the thumb and forefinger. And then I threw it back down, and when it came back up I had taken off its head, I guess, and its body was all gold and yellow now. Then I went back to the main dream.

And, in the theme in the main dream, part of what was going to happen is, even though I was somewhat older, I was going to be spending the night with one of the two brothers who share a room together. And as I go back to that, I’m supposed to be going to his room to spend the night with him, and I guess they’re rearranging the room a bit because he shares the room with his brother. Plus, the brothers inform me that they will be waking me up sometime of the night because the brother has to get up in the middle of the night and get some kind of a transfusion for his heart.

And before I go down there I’m looking for a restroom, and it feels like that’s when I walk around and I open up doors, and maybe I find a shrine, and I open another door and there’s clutter, and I actually kind of get distracted trying to put some of the house in a little better organization.

And the mom, at one point, says to me that sometimes she just goes outside to go to the bathroom. But I finally do go back to the room and find that there is a small bathroom attached to the room. And then I’m going to get in bed; the guy that I’m there to be with is actually sleeping soundly, and his brother has his arm around me, and we’re kind of standing there by the bed – and I think that’s when I wake up.

John: The theme of the dreaming involved being able to shift to different extremes in a balanced way. In other words, you repeated this three or four times in your dream. The first time you repeated it was you saw something that was like a bathroom, and then at the same time it could be like a shrine. Those are dichotomy shifts.

In other words, it’s like if you have an awakening, or an opening up inside of you, of a particular kind of awareness, in this case you use India in some element or aspect of India to denote something that quickened an energetic in your nature. Whenever the energetic is quickened in your nature, because we live in an outer sensual world you then have to put up with the shift of the outer in which you have all of the ideas, and the things that get invoked, and that is all of these little groups that are breaking up, and going on. And they are then almost like spinning in relationship to the increased energetic that has opened something up.

So the first is portrayed just something that is completely opposite. You have the one extreme of a bathroom, which is catalytic, and the other extreme of a shrine which is pulling one’s attention into a pristineness. And so you have those two extremes. The bathroom scenario that is catalytic is kind of like the process in the outer, and how do you handle and resolve that to a deeper meaning somewhere else? Which is set forth as the pristineness, but then the pristineness needs to live itself out in some sort of outer capacity as well. So then you have this repeat as India representing something that is deeply touching and significant, and then you have the spin of that that has to somehow or another be accommodated in relationship to the ordinary.

And then you go into the aspect of the brothers, and you end up finding yourself in some sort of mixing zone there. And then you have the spider, and in the spider you have this going up and going down, going up and going down, going up and going down, which is the nature of going to some depth inside, coming back down into life, going to some depth inside, coming back down into life. And in the end, dying before you die: getting bit by the spider.

Then when you rip off its head, that’s not necessarily good because that then becomes a decision that’s made in terms of direction. You have to be able to go up and down, and up and down, simultaneously; and it’s not one’s nature to be able to go up and down and up and down simultaneously. One wants to do it in one linear way, or the other linear way.

And so when you’re ripping off the spider’s head, you’re making the decision to only be directional. And the sense of the dreaming is to show you that you can multitask, so to speak, in terms of the multiplicity of things. In other words, you can have the pristineness of something and then, at the same time, you can contend with the diversity of something.

So when you have a pristineness of something, you’re able to hold the diversity of something, too. And they work hand in hand, because your pristineness can be too narrow, and the diversity is too reflective, and too broad. But by being able to somehow hold both, you can have so much more. And the pristineness you had was the shrine, versus the bathroom, which is the rumble tumble catalytic of it all. And you have to be able to correlate and to handle both.

And so you had dreams that went around this. And so you dreamt around this paradigm, and that spider aspect was very interesting because the spider aspect was more than just the spider biting you. It was going back and forth, and back and forth. You were going up and down and up and down. The key is, the ability to develop, first of all, it’s a big step to get to the point to understand that it’s inner into outer. But then it’s another step to recognize that there’s an importance in the outer reflection, and that as you go back and forth you hone the pristineness and the bathroom scenario more and more all the time. You come to know the difference between the two brothers, so to speak, that they are one and the same, in a way, because in the dream you were going back and forth between them even.

So you were caught, you were almost taken on a flip side, flip side of the coin kind of thing – the coin always being one-sided in terms of the outer – and able to somehow or another sell you the other side of the coin. That was very, very interesting.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Other Side of the Coin

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w_nesIt’s been said that to make a spiritual journey is to learn to live according to the rules of the universe, rather that according to human-made rules. And the same applies to understanding our dreams. In this dream image, we see a group of people taking credit for something they didn’t create. In our created culture, that’s against the rules. But our dreams aren’t viewing things from that perspective, they’re showing us how we separate ourselves from the wholeness of things, from the quilt of life, and separate ourselves even within our own selves. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So in this next dream it has some shifts in it. In this dream I’m in a long, low building, almost like a school building in a way, in terms of how it’s built, lots of rooms but a couple different levels.

And I’m there because there’s going to be a fundraiser, and there’s going to be an auctioning off of some quilts that some women have made. And I’m helping to finish the quilts because, when you make quilts, usually you sew them together and then they put some batting or something in them, but they have to be finished by the two sides being tied together, or stitched together. That’s sometimes done my hand, so I’m helping finish the quilts so they’ll be ready for auction.

There’s one woman’s quilts in particular that I’m finishing. She has a series of quilts, and some of them are going to get completed by the time of the auction, and some won’t be done but we’ll take them in anyway. At one point I leave the room where I’ve been working, or where they’re going to be auctioned, and I’ve gone down to a bathroom – and this is almost like a school building that’s got a long bathroom with a series of stalls, and several women and I have gone down. But the lights aren’t on in the room.

And so when I go into a bathroom stall I can’t tell whether it’s plugged up, or it’s flushed, or what the scene is, and I can tell other people are having the same problem. So I kind of reach out to flush the toilet, hoping that it’s not going to flood, because I can’t see what the situation is. And I try to get the light on my cell phone to work; I know I have a flashlight attachment somewhere, but it won’t seem to work in this room, either. But I think somebody says something reassuring, and I realize we just have to move on.

And I go from that room into the room where the woman who made my quilts is and there are still some quilts she’s putting together there. And then the other odd thing in that room is there’s this bat flying around, and it’s quite a large bat, and it’s landed on the person next to me and she wants me to feed the bat. The bat spreads its wings out and stuff, but I keep trying to avoid the bat because I find it kind of scary. And she keeps trying to show me that it’s actually quite harmless, even though it has these sharp teeth and stuff.

Even though it’s landing on the person next to me, or on the quilt next to me, still I find it pretty intimidating even though they keep showing me how they feed it. I don’t seem to want to touch the bat.

And then it’s time to go into sell the quilts, even though they’re not completely done. I help her carry them in, and some people who have finished the quilts it’s like they present the quilts as though they’re their own, but I want the quilts presented so it’s clear that people know that she made them. I think that’s where the dream ends.

John: For a while there I thought you were advancing the theme beyond, into a place where I never advanced it, which means a recognition of a connection that goes along with being able to hold onto a place that is in keeping with something that is naturally opening up as part of your being, that you’re born with.

In other words, the way I likened the difference is the difference, it’s the difference between following a principle of a good righteous person, who follows their heart, and adheres to what they have come to understand based upon the outer and their understanding of the outer. And they don’t have much of a depth of an understanding of the inner, but they can develop pretty good principles, and then they come from an aspect of their heart.

And that can lead up to a particular kind of development that only can go so far, but at some point it can be cracked or broken, in terms of the heart, and then something will compromise. That’s the limitation of that kind of consciousness.

And then there’s the kind of consciousness that you were describing, that the judges had. Now you didn’t describe the first consciousness, but the consciousness that the judges have, in your first dream, was the type of consciousness where it was natural to them. It was kind of like they were born with it. Others still struggled, but they had what it took imbedded in their nature and so they could manifest something that could affect life.

So, when you started on the next dream, it looked to me like you were going to be showing how much that means to be able to be like that, in terms of functionality in life, because you started off dealing with the quilt, and the quilt is a matrix of things, a design of things. And initially it was like you were going to intertwine these various quilts together, ways of sewing them together. And it looked like you were doing the process, and then once this was done this was just going to be released out into life, made available to life.

But then, somewhere along the line, it kind of got to the point where you didn’t quite really recognize this as something of yourself. Others who were working on the quilts, that did get them done, saw these quilts as theirs, meaning they didn’t disassociate and create it as something outside of themselves. They saw this as inside of themselves, but you didn’t quite see this as something that was part of yourself. You still felt that it had to do with a glorification, or qualification, of something else that was the main designer of the quilt – and that that’s where the credit needed to go, or something, and therefore that kind of deflection kept you from quite finishing the quilts, quite finishing what needed to be released into life.

And the reason is also provided in the dream, when you shifted and went into an area where you couldn’t flush a toilet, or do something without creating some other kind of condition, because you couldn’t quite see what you were doing. It didn’t quite come through. And because it didn’t quite come through, when you were in the quilt room it was like that battiness was still flying around. And those who understood what they were doing, and were able to put all of this together as themselves, and twine it together, were in the oneness in such a way so that they could then release that into the outer for all to enjoy and behold.

But, in your particular case, you still had to contend with something that was a little awry, or the bat, the battiness of things. And of course you were shown the reason why there is a battiness of things, in that you didn’t quite figure out how to access the means upon which to see what it was that was going on. You had it inside of you.

You, in the first dream, were amongst judges that were born with it and that this trait is a trait that you’re closing in on, but haven’t necessarily found. In other words, you have your predilections or something that keep you from quite making the quilt intertwined with other quilts, released to the outer, as an expression of yourself yet. You still haven’t quite made that step, but you do see that going on, which means that you’re in the process of that step because you do see completed quilts being made. But then you see the aspect of something that’s wayward, that’s got some little uneasiness connected to it, that’s associated with not quite being able to get some inflection to light up. You’re not quite able to turn the light on in the bathroom, and are unsure that what you’re doing isn’t going to create a big mess, if you’re not careful, because you can’t quite see what’s what.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Sewn Together

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