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Posts Tagged ‘frogs in a dream’

332esSleeping with someone is an interesting symbology when it arises in the dream world. We all know that when a physical relationship begins, it complicates things. Issues that didn’t exist yesterday need to be addressed today. As part of our inner life, when we form attachments to things, rather than letting go to the flow, we create just such complications. So what may begin innocently enough, has ramifications in the unfolding of everything from that moment forward. That is why spiritual evolution seeks a state of (inner) non-attachment; only then can we truly be free to join the greater flow. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: It felt like my dream was a little complex last night. I’d been reading a book on tai chi, before I went to sleep, that also dealt with the basic philosophy of Taoism, so I don’t know if that influenced it or what, but I’m pretty sure it had at least four stages, maybe five.

And all I remember of the very first dream, or the first stage, was that I was up at a mountain lake ice skating with some other people. That’s all I remember, my impression of that first dream.

Then, the next two stages I’m pretty sure were represented by a deep blue line followed the next stage with a deep pink line.

John: The first part is your working something through with an action, but then to that action you’re adding a concentration and focus. That’s what you’re doing first, and then second adding the concentration and focus.

A concentration and focus, in a pure way, is not necessarily something that is lost in a differentiation. It can be. In other words, that’s a step in the process of letting go is to be able to have a focus and concentration that isn’t that of the ego.

Jeane: Now, in the second dream that I associate with the deep blue line, vertical line, it feels like I’m visiting… I’m young like maybe in my 20s or 30s, 20s probably, and so are these guys. I visit two guys that live together.

And this whole dream takes place at night. And I seem to live in some kind of a little informal place that’s near an ocean. It feels more like Hawaii, or something. And the three of us have been friends for the most part, but this time I sleep with one of the two, the one who probably seems a little less basic, probably a little, I don’t know if brighter is the right word. It’s like his buddy is more like a surfer type, I would say, and he’s probably got a little more to him.

We’re all friends, but I sleep with the one, but then this changes the dynamic between the three of us. And I’m examining, kind of reflecting a little, on what that change is going to mean because now the two of us need a little more privacy, or something.

And I walk down from the hut down to the ocean, it’s all at night, thinking I’m going to go swimming. There’s another woman, who’s maybe a friend of ours, that suddenly comes. I’ve invited them if they want to come to join me in swimming, but it feels like they’re kind of behind me, or lagging behind me a little bit, because when I get down to the ocean I realize I can’t go in because on the waves in the ocean is a lot of seaweed, and one would get tangled up in it.

But I do go down right to where the water is coming, next to the shore, and on the shore, and I see these tiny little green frogs and I really like that kind of frog, and so I poke one a little just to make it swim because I’m just kind of fascinated with those little frogs. But I do realize I can’t go swimming. That’s the second stage associated with the blue line.

John: In this particular format, instead of there being a complete, total, letting go, in other words, where you’re just in an energetic that is able to be between the two shores, so to speak, you know down by the water, you find yourself as having taken a position, an energetic position by having slept with one of them.

So, instead of the three of you turning into a four of a kind of whole completeness and overallness, that’s a stillness and an emptiness, you’ve disturbed that condition and, in disturbing that condition, you’ve complicated the energetic lines so that you could get tangled in seaweed and stuff like that.

However, the dream, it’s almost as if this is something that is meant to happen, and that you then have to back thread from that in order to sort something out again, in terms of a way of letting go. In other words, the recognition of how this has suddenly discombobulated what had been a more natural overall openness. The reconciliation is in process in this dream, with these frogs or something, and I’m not sure what the symbolism of the frogs is, but they represent kind of a relief, the initial step to a relief from what has been a kind of step backwards that leads to a contanglement. They are kind of like a breaking openness type of relief. I can’t say just how it is. This is more of an association you have.

Jeane: Yeah, these are these little green frogs that I used to play with when I was a kid, in a lily pond, that they start out as tadpoles and then they transmute into a frog.

John: In other words, they represent something transformative for you.

Jeane: Yeah, and so that was the dream associated with the vertical blue line, and then there was a vertical pink line. I don’t know that I remember the dream associated with the pink line, as much as I remember that it had two stages, and one of them was tricky. It was like a vibration one had to get into and it was tricky.

And then there was a dream, but I think it actually followed the third stage, and in this dream it feels like I’ve come in from out of town and I’ve gone to a small place that, again, feels like it’s very simple. My dad is there. There’s other people there. It feels again almost like Hawaiian or something.

And I’m going into this rather simple area where everybody is, and they want me to give a talk on something. They sit around in chairs with little tables in front of them, and then I would be near a blackboard, and I come up to give a talk.

There’s a couple women that are usually there that are in charge of all of this, but when I go to give the talk it feels like some of the talk goes well, and some of it must bore some of the people there, because they just wander off. And then I’m kind of assessing how to relate, but all I can really do is just do what I know how to do, or what I know to talk about.

And then it feels like I go down the street, and maybe that night I sleep just down the block in another place, but when I come back the next day I have to bring back the bed I had taken down there, that I borrowed from someone there, and sort out, you know, what belonged to whom before I leave. And I don’t know whether I can come back here or not. That’s the dream I wish I had held onto a little bit more. It was harder to pull out.

John: Well the pink line is softer, isn’t it? You’re not using the pink line, yet, in a way in which you’re transporting something to the depth that it needs to be transported with. In other words, the pink line is you’re still shaping something. Instead of transporting it into a letting go emptiness, you’re still shaping something.

The blue line and such has to do with being able to have a quality of an egoless state of being, and yet there is still a kind of definition. The transformative of the frog energy is coming in, because you aren’t caught. You’re not literally caught in trying to force something to happen, projectively, with a kind of overt ego. But you’re still carrying a note.

And in the pink line, something is still unfolding in relationship to a quality; the dream is not saying that what you’re doing is harmful or bad or anything. In other words, it’s not like you’re being reprimanded in the dream. Instead you’re just being shown the way you are, you have a construct in which you’re bringing it.

Your use of the pink is you’re still experiencing it as something that is associated as part of yourself. In your way, you’re still playing with a strain of something. You’re recognizing that you’re something. You still have the news of the pink and, therefore, there is an effect that can affect things noticeably, as an aspect of your nature, but there is a greater depth that can be there if somehow or another you can let go of that, too.

You still have a kind of visibleness, a visibleness because you see that as still part of you – and that is you. That is correct. But your state is more real in terms of the idea that, ultimately, the unfoldment is that you are God. That pink is transformative, but it still is a strain.

In other words, it’s like the blue is a concentration, and in the concentration there’s a limitation. In the pink there is a letting go, but a letting go with a definition of some aspect of yourself in a realization kind of way, a greater realization, a kind of, you might say, consciousness, as opposed to a real wide-sweeping subconsciousness. I’m describing it like this to try to differentiate that there is an aspect of something, and this has yet to unfold further.

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big_fish-s7What is behind the idea that life is an illusion? It’s based on the understanding that what we see and perceive most easily, with our senses, is only part of the story, and generally the least important part of that story. On a development journey we begin to learn how to see beyond the veils, or beyond the surface impressions, and into the deeper, causing realms. How do we do that? By dropping our insistence that our life here is about us and embracing the intertwined nature of everything. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Earlier in the night it just felt like I was going over some dilemma in a book I was reading rather than dreaming. I’ve been reading a book and there was something in the book that I couldn’t figure out, so it felt like I was just trying to figure that out. It was about what somebody would do if they didn’t have any hands, in a way.

Then this morning I had a dream. In the beginning of the dream I seem to be going out and I’m going by a stream, by a pond, and I’m looking in the pond and the water seems rather dark, almost like there’s not enough life in the stream. Then I see a turtle kind of coming up from the bottom; that at least is something.

And then I see some frogs that are kind of forming themselves into a ball. They don’t look like normal frogs. They’re bigger and one of them almost looks like it’s made out of blue and red felt, but it’s the biggest frog.

And then I’m pointing out to a couple other people that if you take the ball of frogs and you start pulling them apart you find the biggest frog on the bottom. And I just start pulling the frogs apart so I can show them this.

Then I kind of go on from there and I’ve gone to a camp and the teacher is at this large camp and it’s almost like whatever event we had there was breaking up and the teacher has taken something – it’s actually one of those Middle Eastern drums that gets narrow in the middle and is wider at both ends – and he has tossed it out to us to play with like we’re supposed to kind of catch it and then toss it on. But we don’t seem to know how to play.

When I get it I realize I could toss it back to the teacher, but that really isn’t what he wants us to do. It’s like he wants us to send it around the circle, so I kind of toss it up to one girl I know but she doesn’t know quite how to catch it, either. I kind of throw it badly the first time but the second time I get it to her.

Then I get it back. I toss it to a guy, but he’s smoking a pipe and maybe reading something so it just hits him, and I’m kind of trying to get him to see that even though it’s hard to know how to pick this up and throw it like a ball and throw it around the circle, the teacher is at the other end and is talking about maybe on Friday nights he’s going to have like a game night or something if that’s permitted. It’s like we don’t know quite how to play.

John: It is like two dreams here, and they both say essentially the same thing. In the first dream you come across a stream or a pond that is like stagnant. It doesn’t look right to you; it has a darkish color to it.

And yet there is a way of looking at this stream and perceiving this stream as if it is an essence to the whole because you have the turtle that comes up. And the turtle is the symbolic image that carries the world on its back, so to speak.

And then you have the frogs and the frogs are the symbolic quality of yourself that you use to kind of go into and appreciate kind of a different depth, or sense, in other words, that takes you outside of your personal. And so this frog is also rolled up in a ball; it’s a round ball. And that as you take and you recognize this round ball for what it is, you are going in deeper and deeper towards appreciating the essence of what this is all about.

If you were to apply some masculine insight into this, you could have rejected that pond because of its darkish nature, which would have been a personal motif reaction that could have been taken on. And that would have had to do with your sense of it – that it’s kind of dark and maybe not in keeping with one’s personal demeanor of conceptualization might have tended to be in a general outer way.

But you instead came to appreciate this pond on a deeper level, as symbolized by the depth of what a turtle represents, in other words, going beyond just the stagnant quality of it, or the dark quality of it. And the significance of what a frog means, which has a special meaning for you, too, in terms of a certain way of being more consciously aware.

So then it’s like the next part that you mention, that has to do with the teacher, the drum is something that penetrates into all of life and that it needs to be absorbed by the whole. It needs to be taken in by the whole. It’s not something that you are able to try to keep for yourself.

And as things flow, as the quality comes about, it only comes about by way of you disseminating it into the whole. It doesn’t work if you try to toss it back at the teacher, or to try to personalize it in some fashion as yourself in relationship to something greater or something. Instead you’re just part of the whole. You need to be able to toss it around to appreciate this greater wholeness that you are.

It’s not that much different than the first dream in which in the first dream the wholeness… well, the wholeness is found in being able to see through something that others would tend to ignore or not accept. In other words, in this dark pool of water, or stream, or pond, you could have the tendency of dismissing it or not really seeing what’s truly there, but therein lays frogs and turtles, a wholeness lies beyond the typical, personal presumptions that one could have.

And this is true of everything. Everything has an outer appearance that’s a reflection, and then it has a meaningfulness that goes much deeper.

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