Archive for the ‘Spiders’ Category

vibrate-81This dream follows the dream we looked at yesterday (see Lines of Energy). And when we remember that different dreams through the course of a night are often different and continuing aspects of the original dream, we can see the changes that have occurred. The dreamer has learned to fly and to become a warrior, and with the interaction of a spider and its eggs, the dreamer is now promoting the growth of new connective energies in herself. As the image proceeds, the dreamer discovers skills she didn’t know she had – because she has allowed something dormant to awaken in her. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my second dream, I seem to be on some kind of a planet where the people and animals can at times look different than they are here, and sometimes they look like they are here, but it feels like a different planet. And there is some kind of battle going on, now and then. I don’t always see it.

In the beginning of the dream I seem a little bit more on my own. I mean I might go into a room and there’s people there I know, but I’m feeling a little more on my own. I remember one time that I went into a room and there was a couple that we went to India with that are there, and there’s a couple there from my past from New York, and other people.

But when I’ve left that room I’ve gone out and I’ve been forced, in order to escape from being attacked, I’ve been forced to fly, and I’ve been forced to fly in front of people, like I might have to fly up over a cliff, or fly over the water, and I had to do it in front of people so I couldn’t hide that I could do that.

And then it feels like I get kind of bold with it, and I come back to the room where I know people and show them that I can fly. But then there’s different reactions to it, and then I’m not sure whether I should’ve done that, but the result of it seems to be that there’s something that’s kind of like this strange creature that’s considered part spider – but it doesn’t look like a spider – and it comes and deposits something in my pocket, that are like little eggs, that can be used as a weapon when we go to battle.

And then it unwraps itself from me, and it feels like I suddenly have some others that are with me and I show them how I can fly. And I think one of them even learns how to fly because we need that to get away from people. And then we’ve gone to a village where there’s some elders, and I think at this point there was even some kind of a battle I was involved in, that pulled out certain skills I didn’t know I had, or I even could spot somebody that was an enemy that was disguising themselves as a friend.

And when I go over towards one of the elders somebody talks about how my mother had been… I can’t remember the name now, but it indicated that she’d been some kind of a shadow warrior, so maybe these abilities that I had I had inherited. But because I’d inherited them at a time when the training didn’t still exist, it’s like they were coming out in battle but I didn’t even know what some of them are yet because we didn’t have the same training we used to have. Now it’s just coming out when you have to use it.

John: The big difference, and the most distinct difference in this dream, is that instead of being subordinated by the energy lines, which means that something is always haunting you, or chasing you, or you’re having to escape or something like that, that you’ve reversed this now to where you’ve developed an acuity to being able to contend with the energy lines, to be able to maneuver in relationship to the energy lines, to be able to find a space within the energy lines.

And the fact that there’s the spider and all of that, and that there’s the eggs of the spider, which means that you’re laying the seed for intertwining it more and more and more all of the time, and there’s a kind of a confidence in that.

The first part of the dream, before all of that, dealt with just recognizing that you could be somehow or another unique in relationship to the energy line. In your particular case, you’ve taken out that word, or that consequence of a word, or way of looking at it that can be put into place because you’re just evolving more and more all the time, in terms of how it is that you’re able to contend with how things are in terms of the way you, yourself, in your uniqueness, is able to, first of all, exist within the context of that, and then, second, intertwine within the context of that, lay the seeds of something. And those seeds, those eggs of the spider, the spider always webs, and the eggs then also know how to intertwine.

And so what you’re doing is it’s like you’re just kind of experiencing yourself suddenly doing this, but the dramatic thing that needs to be denoted is a huge shift in this dream. The huge shift in relationship to the fact that you are no longer, that you may be at a point where you no longer, have to contend with having to view forces as haunting you, in other words, like you being out of sync in terms of the way things are in a general context – meaning that there is something yet that needs to open up more for you, and that you are pushing off from that opening up.

Maybe from here on you may be dreaming more to the effect that things have opened up to what is needed and necessary, that a completeness has been reached, so that now you can proceed to go forward and twine and intertwine in relationship to how that is. And if you’re able to do that, then you’re able to kind of alter and change the story, otherwise you’re still having to find yourself in relationship to whatever the overall storyline or design is.

So this is a broader, a more descriptive, and a cleaner view of what’s going on, and how it’s evolving. That’s pretty good. I mean this is one of those cases where the feminine’s description of something evolving like this looks a lot better than the masculine’s portrayal.

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ChaosThe dream yesterday began with an inner perspective, but then it shifted to dealing with events in the outer world (see A Visionary Effect). And, just as in waking life, when we are faced with what is unfolding in the outer, things begin to get chaotic. Nothing works quite right, and more and more detours are required to handle everything. It’s interesting to see our dreams in this light: are things unraveling, or are things working out? This can tell us where we are in our struggle. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So when I go to the outside again there’s a lot of people, and some of the first people that you run into, of course, are the people that you wouldn’t let into the inside before. But I just seem to kind of ignore them. And I’m walking around the lawn and exploring the area, and there’s a woman who wears white, an older woman who wears white, that I see as owns the area, or it’s her area anyway. And at one point, then, you’re there, and then I think of her as your mother.

You and I decide to go on a hike up the side of the hill and, as we go up the hill, it’s very muddy and there’s kind of like a stream beside it that has pooled up in different places. And as we’re about some distance up there, then you notice a place where it’s almost like a pool with some steam coming off of it has pooled among the rocks. And you want to go in the water.

I don’t really want you to go in the water because I feel like we can’t tell how hot it is. It might be quite volcanic, or it might just be like a hot pool. I just don’t know, but you just jump in. But when you do that, it’s like part of the side breaks down and it sweeps you down the mountain a little ways and you get all muddy.

So you kind of holler at me and I have to come and pull you out and back up onto the trail. And then we have to go down to the house because you have to go change clothes or whatever, get the mud off you.

When we’re down there, it’s like your mother really wants me to leave. There’s also been an Indian man that I feel like was wanting to be in a relationship with her, or someone there, and he’s left.

Before I can leave, I’m looking around for some things that need to be done, and then a little spider lands on my glasses. You know, I don’t like spiders near my hair or anything, so I kind of take off the glasses and ask you to help get the spider out, shake my head. That’s just kind of disturbing.

And then she seems to have left for a few minutes and you’ve gone to clean up and, because she wants me to leave and it’s her house, I feel like I’m going to have to – but I make a phone call. It must be about a cab or something. And when I make that phone call, somehow I get hooked up to the house of the Indian man and I find out he has a wife, even though he’d been there trying to maybe have a relationship with your mother or someone else.

So that was kind of like information that we didn’t know that I know it might even upset her, but at least I’ve got the information. Also, before I leave I see these white clothes all around, and I’m picking them up, and I feel like they need to be washed before I go. And as she comes and she’s gathering up some of the white clothes, too, I’m trying to sort them out a little bit more from colored clothes or other clothes that are with them, and get them in a washing machine that’s outside with everything else. I think that’s when the dream ended.

John: So when you put all of that that goes on in the inner in which you can have a certain knowingness, when you put this into the outer, you repeat over and over and over and over and over again all of the various variances.

And, to begin with, things just keep becoming more abstract, meaning separating from this overallness and this wholeness in which there is a sense, an acuity to every little nuance that is able to take place in terms of the effect as something changes in an inner way of something coming through.

But in the outer, you start off in which, fresh off of the inner, you have the sense of the various relationships, or parts. In other words, you have a sense of the effect of the mother, you have the sense of the effect of this, and the sense of the effect of that, and it’s still kind of within the metrics of an overallness, but with separate distinctions.

And then as the dream progresses, the vagaries get more and more askew. You know, you get the white clothes, and the colored clothes, and you’ve got the this and you’ve got the that, and you’ve got to handle this a little differently than you handle that. And it becomes more and more askew, meaning more and more like in a separateness.

And the more and more it goes like that in the outer, the further and further and further away you get from a higher-self acuity that you had on the inner. And yet that is how it is played in the outer, because in the outer you have your senses, and your senses are only able to pick up what is in your immediate environment around you.

And so you have to conduct and act off of that. And as you conduct and act off of that, can you hold onto, can you be in this innerness, at the same time you’re in the multiplicity? Because the multiplicity isn’t really a multiplicity. To begin with, you know that it’s kind of a part of you this way, and a part of your environment in this way, and a part of your environment in that way.

But in the end the images and the variances and all of the stuff that you’re going through sound estranged, sound like you know just things that you have to contend with, and you tend to lose more and more and more in the separation. You lose more and more and more of the union, or the oneness of things.

So when you dream on the inner, you pull more and more into a huge oneness, and world soul of yourself, in which that which goes on you can be in rhythm with. And when you go outward, there is an amnesia that sets in, in which the parts all to begin with have a relationship, but in the end that relationship can break down and you can become completely bewildered by the duality of things – as if they are things that you have to contend with, as if they really are separate.

And, as your dream progressed, these things kept having a semblance of greater and greater separation in terms of the imagery.

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action_reaction_2In dreams, as in life, when we have personal reactions to events that we are involved in, it sets us off down a certain path. Here, Jeane’s dreams show how reactions can throw us off balance and introduce elements that become harder and harder to manage. How life unfolds is not up to us, but we can determine how we process those events, especially if we remember that everything is intertwined. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: My dreams last night were really complex and were all over the place. I had one dream that just kept going on and having all of these shifts in it.

Wherever the dream began, it felt like I had a couple of things going on, and one of them was it seemed important to be fixing the speedometer of the car, but that was a very complex thing because it was almost like a speedometer that a person was carrying around inside them. And it had to be done in the right place at the right time, and I had to kind of stay with them until that got done.

John: That right away is setting the tone in terms of portraying the theme in which the theme has to do with a type of timing, in order to stay in sync with how something is intended to unfold.

Jeane: There’s the one thing going on in the dreaming with that, and it seems like at one point I even take you to the hospital for some kind of operation that you need, and I’m involved with the doctors and I don’t like to be very far, and it feels like the speedometer is still there inside you somewhere and I’m having to keep that in mind.

I have that going on, and then there is this secondary theme that develops in the dream…

John: That dream is showing you the reactionariness, the unhealthiness of the reactionariness. I’m used as an example of that, so to speak, in you, in terms of you know how to hold a balance, a nature that lets things just be and can stay more observing in it and let it hang out.

But then you have that reactionariness that has to do with quibbling with the speed, and the unfoldment of things. Even though I see things sometimes and speaking of myself personally, even though I see things I still get carried away when it actually happens, because in one sense I think I have to plug myself into the action. But it’s better to be completely totally neutral like you are recognizing, or otherwise you’re going to suffer and get ill, get whacked, get sick.

Jeane: Then there’s a secondary theme going on that I seem to have connected with people that are involved with a certain process, or way, that you breathe, and connected breathing to release things. And these are people I’ve known from my past, and I’m connecting with them and that process is getting brought and linked into whatever is going on also with the speedometer and a surgery that’s going on.

John: So what you’re doing there is, is this happens automatically, like if you have some sort of reactionariness over anything that’s out of cadence in your nature, your breath is effected in that exact instance. That is why the word choking comes in and the energy goes to the throat, or there can be the heart hitting the floor because you’re shocked by what happens and, somehow or another, it’s not supposed to happen to you.

In other words, your breath is in cadence with that so if you get emotionally distraught or get all discontangled or jumbled, it immediately goes to the breath. It’s not like there’s a delayed effect or anything like that, so if you’re aware, or attentive, with the breath, you always are in sync with what is going on, as it is unfolding, in terms of a connection that you uphold or maintain from within.

Jeane: And then, in terms of reactingness the other thing that goes on is that there are two other dreams or three that get entwined in there, and all of them just seem to go from… They are all intwined, that’s all I can say.

In this one, I’ve gone with you to meet some family, your parents, and then there’s a little sister too, and that whole scene seems to take place in just a couple of rooms, a kitchen and a bedroom with bunk beds.

Your parents sleep on the top bunk bed, and when we’re in the kitchen it feels like there are these spiders, and there are these two spiders that come along that look kind of like mop heads, and your sister even kind of steps at one. And I know that the part of the dream that I most remember is that I go into the bedroom and I insist your dad go out because these spiders I feel he should kill these spiders. I mean, they don’t look right.

They look more like mop heads. They’re that big, and they’re that sluggish, and even though I’m not sure they’re going to do anything, it’s like he’s the guy, he needs to go take care of the spiders.

And then I see another little spider up on top of your mother’s bunk bed, so I won’t stay up there. I tell her – she would have just left it alone – but it looks to me like one of those little ones that could bite you, so I kind of insist she get rid of it.

And then you and I, I think, sleep in the lower bunk, but then the dream is like off and running again with all the other themes kind of intertwined in it.

John: So what you’re doing is, first of all, you’re setting up at the very beginning, the stuff that shows reactionariness or qualities to which you’re trying to hold onto a cadence or a mannerism, and hold onto it with the breath, and to hold into it with a certain balance.

First of all you laid out the chronology of what takes place, and how one goes off is kind of laid out. Then, at the very end, you point out the area in which you are most susceptible and vulnerable in terms of holding a certain line, or mannerism, and that is an area in which you have included into your world something that you have taken on.

Well, this is kind of hard to see. In other words, I’m in your world, but in some sense you have the understanding of how to hold a certain balance. In other words, you know this stuff in terms of how to hold a certain balance, in terms of how you need to be, if you are looking at something, if you take responsibility for what you are able to see right at the beginning.

In other words, the introduction of this stuff as a schematic, and as a process, which you need to adhere to, which flows from within. You’re given the blueprint, so to speak. This part of the dream is showing you the one area, and is showing you a very specific area, in which you somehow or another are making an exception to the application of this knowingness.

And that is when it has to do with something that is happening to me. Somehow or another you’re buying into that as something that’s affecting you reciprocally, as opposed to realizing that, even in that area, you are entwined.

That is why it’s my parents, and yet your spider. In the past, ordinarily, if it were you reacting to something that is unfolding strictly from inside of you, to which you take that type of responsibility, or would like to take that type of responsibility, but aren’t quite doing or something, then it would be your parents.

But no, no, you’ve been shown, and got the memo of, how it needs to be in the first part of all of the dreaming, and now it’s happening to me, and it’s my parents and therefore the spiders. Just because it has that wrinkle, doesn’t mean it’s any different.

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