More to Come

Jeane: In the main dream I had, it seems like there are two primary ways to approach getting something done, and they are both represented by a small cloud, which has, I think, four appendages hanging from it.

If you move this cloud, or shake it, in a certain way, the appendages fall in a certain pattern and that represents a situation where something has been completed. I could get this procedure to the point where it was very consistent and well timed (that’s what I was aiming for), but each time the cloud had to be moved a little differently.

I could get it so that the timing between the two different ways, and the results, were very, very close, and either one of those two ways really worked well in the situation.

There was a third way that some people were trying, but that was an option that I didn’t think should be used. I spent a lot of time working the first two ways to see if I could gain more accuracy, or if one way was better than the other.

What I discovered was that the difference between those two was so minute that I really couldn’t tell.

John: You mean between the first and second ways?

Jeane: Yes. The third way, even though some people thought it produced a better result, was too rigid. I’m not sure what exactly was wrong with it, but it really wasn’t the best way to do it, so I just played with the other two for a long time.

John: So it doesn’t sound like you found an answer.

Jeane: Well, either of the first two options seemed okay. The third way wasn’t as useful.

John: Did the third one involve too radical a shift?

Jeane: Yes, it didn’t seem to work in the long run.

John: So, what do you think you’re describing? Are you describing something that’s a precursor, in terms of the outer, in the sense that there’s going to be some sort of backlash? You have this process where two ways seem to keep things in a state of equilibrium, yet there is also the presence of a third way, a bit more radical, which points to the idea that the equilibrium can’t last. The third option points to something more that needs to become awakened into life.

Jeane: Well, I would say that there are several ways it could work, but there’s a third way that seems too rigid to work.

John: If you were to try to relate this image to something in the outer world (that may have triggered it) what to you feels like it’s too rigid? Is it the military rule in this country (Egypt)?

Jeane: Yes, I feel like that’s too controlling.

John: That would be too controlling: it’s the power of the masculine and its ongoing attempts to control the re-awakening of the insights of the past. And where is the heart that exists – on some level – that sits here with no one paying any attention to it, and hardly anyone even recognizing it – not just here but throughout the world?

Jeane: I actually had another dream that I think had more heart in it.

John: So there’s something else yet to come. What’s being said through this first image is that you’re trying to sort something out, which can then be shaped or brought into existence.

Jeane: Yes.

John: And in this first dream, you haven’t really found a good answer. You know more about what shouldn’t happen, rather than how the existing dynamic should play out.

So your next dream is going to zoom in closer, I suspect.

Jeane: Yes…

The Masquerade

Jeane: The dream then transitions (see In the Presence) into a scene where I’m with my sister, in a room where we live. It’s dark. We’re going to a masquerade party in a few days, and she’s upset with me because I’m going to wear an umpire costume that was made and worn by another young woman last year.

My sister is certain it will leave the arms too bare and just won’t look good. I believe the other woman to be modest, so I stick to my guns – I’m going to wear the outfit. My sister wants to see it and review it and I don’t want her to.

I’m certain it will work out fine, so I go over to the house of the young woman and I’m relieved to see that the umpire costume is a dress that has an umpire shirt with sleeves underneath. She cut the shirt so that part of it comes through some holes in another outfit, and it’s lower cut in front, but not improper.

We want to get a hat to complete the umpire outfit, so the young woman sneaks into her husband’s room to get his umpire baseball cap for me to wear. I put it on backwards like they do nowadays – it’s a little jauntier. The woman is excited about the costume on me, and also the outfit she’ll be wearing this year.

Next the scene shifts slightly and she and I are at the school where the masquerade party is being held. There’s a break going on from the classes so people can get dressed. She and I go to a bathroom area, trying to avoid my sister or others. We’re staying hidden while putting on the outfits – we just want to surprise them at the ball. 

The woman helps me adjust it and it seems to fit just fine. Even though it’s something like she wore last year, it feels good for me to wear this year. I think other people will like it.  

Then I get a sense that the masquerade ball is going to be held in that circular area, the great room in the condo that we were getting access to in the first part of the dream (and we figured out how to get into it, even though you do get a bit of a shock). 

John: That’s a complicated dream. You’re dealing with a dress that your sister doesn’t want you to wear, but you end up finding out that it fits just fine.

Jeane: Yes, I go to the other woman’s house because she supports me wearing it. She made it.

John: So, in other words, this imagery is showing that something is coming through, isn’t it?

Jeane: Yes.

John: Something that when you put it on for yourself – when you wear it – everything is fine.

Jeane: But I do want to hide when we put the outfits on.

John: So you have the sense that you can’t be too obvious with this.

Jeane: No, I just want to show up in it.

John: In other words, you go along and go along, and then all of a sudden you’re there, you just break through.

That connects to the earlier part in that you find yourself facilitating space by just snapping through. So it seems you’ve come to understand that you can touch things in a greater overall way, just by setting your eyes, and your vibration, upon it once it’s imaged in front of you.

In this particular case you’re just suddenly there. You just suddenly have this. It’s like there’s a restriction, and then all of a sudden you just show up changed – the restriction is gone. Wearing a dress, or suddenly showing up, and having that as a presence, is being in an overall state that you just have caught up to. Something in your nature had been holding you back from being able to do that.

In other words, your own self-image has kept you from doing something, and then all of a sudden you realize that that limitation is meaningless, so you just do it, and it’s very natural. It all works out.

Structural Integrity

John: In the next dream, I’m crossing a bridge and, just as I reach the other side, I see a small commotion and two people are sitting there pondering what has happened. There are some figures of authority milling about, but the people of interest seem to be the older, hippie-type couple who are offering their opinions.

Then I realize that some of the vertical support columns from the bridge have broken loose. It seems at one point they were affixed to the building on the other side of the bridge for extra support. That extra support appears to have helped avoid what could have been a disaster; someone could have plunged off the edge and been hurt.

These two people are evaluating the situation, trying to decipher the old signage that was attached to these columns. They are trying to figure out what the letters “PAT” stand for.

I offer the word “patent” as a possibility, but they say “No, no it was more like PALT or PLAT.” I want them to show me exactly where they’re looking, but instead I end up looking at another sign that seems to date back to the Sixties. I don’t remember what it said, but it created a joke in a cynical way.

During this exchange, I begin to think that I recognize the woman from somewhere; I know she’s from Montana. My sense is that she views Montana as a place that won’t be much affected by the coming changes.

I ask her where she’s from and she says, “Bridgette, near Millet.”  I ask her if that’s south of Dillon. She says, “Yes, by about 80 miles.” I’ve taken the position that I know Montana really well, but I now have to admit that I don’t know much about that part of the state.

What can I learn from this dream imagery? Basically, I’m looking at what it takes to be independently strong in the face of diversity. Wherever I look today I see everything being affected by one dilemma or another. Yet there still is the sense that hope can be found within the turmoil, even though it’s isolated.

This insight comes in an odd way – this woman is not something that I expect. Her husband seems a little cynical, and yet she seems to feel that she has security that’s based upon her isolation or separation (in Montana). I don’t know what to make of that.

As I’m pondering this I see another image of me riding into a herd of cattle, like a cattle drive, and I’m riding into it against the flow. In other words, the cattle hands are pushing this herd along and I’m causing a disruption because I’m riding right into the face of it.

This confuses things and I realize that I’m disrupting what is deemed to be standard practice. This causes me to take another look at the importance of the cattle drive in relationship to me; by going against the flow I’m causing the raw energy to have to adjust.

The dream with the bridge – with the extra support from a building on the other side – having its structural integrity compromised causes me to realize that, little by little, things everywhere are being compromised. And what’s being compromised is the effect of the inner life upon the outer life. That effect, which is proper to the way of human existence, is becoming less and less.

Everything I look at, with a few exceptions, is showing the effects of losing structural integrity, and that’s because real structural integrity comes from the inside out.

In the cattle image, I am seen to be going against this trend or pattern in the herd mentality of the culture. I’m trying to deepen my inner life and let it radiate into the outer world. That’s what a spiritual path is about – allowing the god connection within us to bloom and shine through. In these changing times, when our structural integrity has to come from within – because outer structures are falling apart – it’s more important that ever to have a strong inner foundation.