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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.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Lost in Separation

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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.

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

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John: The imagery in your dream (Not So Itsy-Bitsy) about the spider that grows larger and larger shows an aspect of the imagination that can create a situation where a person can psych himself or herself out. Say for example you go to a doctor’s office and get upset by what the doctor doesn’t say. What the doctor says doesn’t satisfy on some level, so the imagination keeps working and all sorts of scenarios can pop up. So this dream shows this kind of exaggeration, to the point of creating that heebie-jeebie quality. It shows how a notion can get into one’s head and become greatly exaggerated.

Imagination is a good quality if it doesn’t run rampant, because it’s actually necessary to be able to bring insightfulness from deeper inside into cognition. This kind of active imagination quality seems to be intangible, but actually has tangibility in terms of the listening center of the heart, enabling one to have a sense of things from the other side. But when it sits there kind of percolating, so that one’s condition in the outer is one aspect, and then there is a flicker from inside that isn’t fully realized, it creates an in-between zone where you can be affected by things that haven’t completely awakened. I have seen it occurring in you in stages and by degrees. And I guess that it might occur in the outer world in stages and degrees as well.

Typically a person approaches life from a basic understanding, but if they’re able to get outside of that and realize that there’s something more going on, it can destabilize them a bit and their imagination can run. It’s an illusory thing, and if you have a certain insight along with a certain kind of imagination, fantastic ideas can arise as possibilities if the listening center of the heart isn’t able to keep it aligned. In other words, it is like the seeing center is going slightly askew – it’s almost like a type of delirium.

Often, the outer world can seem too much and a person may resort to alcohol or drugs as a buffer. They can go off into this delirium state and get lost there, being unable to find their way back. This happens to a lot of people who go askew. It can happen in terms of becoming too sensitive as well, where one loses a certain rootedness. Our view of the reality around us can be a kind of grounding; it can help if one begins to perceive another reality that one is not ready for.

The whole thing of the vivid imagination is interesting because it causes you to look at something like this in order to stay sober or keep yourself focused. I see in you sometimes a type of hyper vigilance when something is stirred in you – you watch it with great focus and attention. That vigilance is also what can set off the whole traumatic weirdness, too, of a giant spider. If you let the vibration go on like that, you can actually create an altered reality.

So in your dream you did that to an extreme, so that you could then get a sense of… well, that’s why they say that a person needs a spiritual teacher because there are things on the other side that are experiences and sensations that one can go through that throw one off balance. Typically, they are all in the imagination.

It’s an integral part of letting go of one thing in order to be able to grasp something new that’s part of a much greater realm or dimension. It’s easy to take a particular vibration, give it a spin that has some weirdness connected to it, and turn it to something else that, for all intents and purposes, can appear to be very literally dramatic and traumatic.

You show a capability for doing that. It can actually be interpreted as kind of funny, but it’s also kind of interesting. To the degree that you do something like that, the initial jest is something that one can look at and chuckle – it lightens something up. But when it gets carried to an extreme it can actually become a torment to you.

So your dream, as I see it, gave you a dose of it, and when that happens it can keep one from greater bizarreness because it reminds one to stay focused and clear-eyed about things.

To continue this discussion, see Keeping Rooted.

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