Posts Tagged ‘hiding in a dream’

00rrf6In chase dreams, sometimes we are fleeing to avoid something that is new and unfolding in our inner life – that some part of us feels we are not ready to face. Other times the chase is because we are trying to outrun the clutches of the old patterns and ways that are preventing us from progressing on our journey, which is the case in today’s dream. Here, we can understand that totally fleeing (denying, in a way), may not be the best solution. Sometimes it is best to embrace our consciousness of the issue, and defuse its power over us by shining a bright light on it. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, I remember one dream. It’s like I’m in a jungle area, and there’s a warlord there who grows drugs, and he’s trying to hunt some of us down to kill us. And I’m not sure where the others went to, but I have gone inside this little hut to hide, and crawl under what looks like a blanket of something on the floor, or an old tarp or whatever, and pulled it over me.

And then he has his people out hunting for us. One of whom, they almost look like pygmies, some of these people, one of them this little boy-looking person starts to kind of pull up the tarp, but it’s almost like he’s actually looking through grass, like he’s hunting for me. There’s a hole there, but he can’t quite see me, so he has to keep crawling in deeper to see if he can see me.

And he has something like a blow dart gun, but it feels like by the time he crawls in a certain point, to where I am, he passes out, or he agrees to hide with me. So, because he let me hide, I know that if the warlord caught us he’d probably kill him as well as me. Because I feel like he’s killed the other people I was with, or captured them at least.

So I had the boy pulled all the way under the tarp with me, and he seems unconscious, and I kind of tuck the tarp in around us, and the warlord and his minions or whatever, at one point come into the hut and they’re walking around talking, and maybe they even kind of shuffle the tarp that’s covering me a bit. And I keep feeling like I’m going to get uncovered, but that doesn’t seem to happen right away; there’s just a tension about it.

But at some point, because they’re going to uncover, it feels like I get up and escape out of the hut – and they know I’m loose, now. And they start hunting me, so I have to stay on the run. And I run into the jungle, and I come to what’s actually like a doorway, and it’s a huge wooden doorway. It has actually almost like two levels, you know where the top can open separate from the bottom, and it’s like I’m climbing up it, and maybe I get the top portion open. And then I see there’s another doorway a few feet behind it just like it.

And I finally kind of get through that, too, because I know this man’s hunting me. And what that does is it puts me into another jungle area. And it’s an area where I see even a scene with a slight plain, and white tiger, and another jungle cat there. But up on the hill, I see a man who’s like a movie director, with actually like an accent from Iowa or somewhere, he’s there making a movie in the jungle.

So I go over there. The big cats don’t seem to bother me, even though they’re there. So they feel a little menacing, but they leave me alone. And I go over to where the director is, but I realize he can’t really be any help, he’s just there making a movie. They wouldn’t know what to do with a warlord who’s chasing somebody, or killing people, in reality.

So then I go up through the jungle and I find a little village, and I see the people in the village are kind of natives of some kind, and I go up to a counter. And it feels like I actually buy something and they when they give me back change, they give me change back in at least one big silver dollar and some other silver, I think. And they’re helpful, but I also realize that you never know, that this is kind of one of those port towns where information is valuable. So at some point, someone’s gonna feel like they can sell me to the warlord, or something, and my whereabouts, so I can’t really confide in anybody. I have to keep trying to get back to where I’m going. Even if I like people, I just have to kind of keep on the move.

So I get my little purse with some of the silver coins in it. And this time I leave the little village and I go down to the waterfront. And it feels like several times I’ve gone out on the waterfront that I kind of feel like somewhere along this waterfront will be an avenue back to where I’m going.

And then I run into some people and they tell me they’re trying to sail for, I guess, where I would consider home. I consider them a bit flaky, but I look out and I see the water, and there’s areas where the water has turned this beautiful blue-green color, it’s like ocean now. And I’m thinking maybe I’ll try to go out on that water with them in a sailboat, and see if I can get to where we’re going. And I think that was where I woke up.

John: So, the theme of the dream actually starts at the very beginning. And then you have the abstractions that come off of the theme of the dream.

The theme of the dream has to do with being in kind of an abided stillness. And the whole schematic of the dream process has been more and more information about the stillness, the stillness that is a quality in our true, who-we-are, beingness. And what you’re doing is you’re actually portraying, in your dream, a quality that one came to understand a few nights ago, in which when you have adopted a kind of mannerism, nuance, bifurcation, however you want to say it, that the world around you takes on that quality. You have an agreement world in relationship to that demeanor.

That agreement world, because everything is a composite of the breath going in and out, there’s all kinds of things that can be found along the aspect of the breath, that will add or support an identification to being at a point in the breath. And when you’re at any point in the breath, you are, then, living something in manifestation, and have that as your world. If you were to see the stillness in relationship to that, it would be like night and day difference. But, instead, you experience kind of an echo of something that you’re trying to get back to, as if you still carry the memory of the thing at the very, very beginning.

Well what is really interesting, and positive, about the quality of the bifurcation is that you have the ability to bring it in, to, so to speak, pull it into your nature enough so that you can fully take on the bifurcation – as if you can then pop it. And that occurs when you, in being lost in the abstraction, take on one of the minions of the abstraction that is normally part of the problem within the abstraction. And you’re able to try to get it to come out of its unconsciousness.

And it isn’t quite able to come out of the unconsciousness, but you’re able to take it in. That’s like a hint and a hope that, okay, you can drop this. But that’s the only aspect that’s kind of positive in terms of you almost breaking through, because the rest of the dream has you still under the dictums of the effect, the vibratory influence that has you going this way and that way, this way and that way, continually contending with something that is there. But the fact that you, at one point, were able to usurp one of the minions, even though that wasn’t quite sufficient to get the energetic out of it that takes you back to the stillness, because it was in an unconscious state, and mode, it was a big hint to what is subtlely echoing behind all of this.

Now it’s a very subtle echo; it’s something that is so subtle that you can’t quite just go into, but it’s there, even though you have this whole dance, and array of things, that is consuming your attention in terms of you having an identification, a reactivity, a mannerism that is still caught on some aspect of the breath.

The key that’s interesting is to try to take and look at what aspect of the breath is it caught on? It’s not caught on the out-breath. That’s what’s interesting. It’s only caught on the out-breath to the degree to which you are perhaps trying to do something, but it’s more caught as a mannerism on the in-breath. Why is it denoted as something on the in-breath? Because you’re haunted, you’re afflicted, it has a quality that affects the way you carry yourself as an energetic, your mood state, and such. And all of that is oriented as kind of a spiritual illusion aspect of the in-breath, the thought process and the mannerism of something coming through. It does not have any qualifications to it, it doesn’t have any judgment, necessarily, in terms of value orientation. When you are fleeing something, and trying to push something off, you are doing all of this based upon some sort of value identification orientation. So, it is a dilemma, in terms of the in-breath, a veiling, in terms of the in-breath.

And the thing to understand, of course, that is the predominant characteristic of process that has to do with stillness, is that the breath – both the in-breath and the out-breath – are what holds manifestation together, are essential for there to be a manifestation. And the fact that there is a manifestation means that there’s a journeying.

And when you take the breath out, then you have a whole different demeanor, in terms of what you see things, because you’re not imaged in some sort of bifurcation of self that you look at, and identify with, and relate to. You are, instead, in something that has an overallness, an all-inclusiveness, an intertwinement, and are able to be just unfolding, as opposed to reacting. You’re just unfolding, because you’re able to be in the stillness as your primary attention, as opposed to it being a very faint, having to wonder where it’s at, still in a bewilderment kind of distant echoing that is being drowned out.

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causal-chakraSpiritual development is not all about high connections and the beauty of oneness. To experience those states, we must roll up our sleeves and do the work of letting go of the lower parts of ourself that inhibit the higher parts from being free. In dream images, as in our daily life, we are constantly being shown those aspects of us that need attention, or consciousness, to set them free. So the question becomes, what are the events in my life, and my reactions to them, telling me about where I am in my journey? (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my first dream it feels like I’ve gone to the apartment of someone that looks like my friend, to visit, and it feels like while we’re visiting some other people arrive – and I don’t want to be seen. It’s three women, I think. And so I seem to shift from one room to the other trying to like just leave one room before they come into it.

And so it’s like when one would come in to one room, I would just have stepped out of that room and I might see the back of somebody else, because there’s three of them, into another room, to see where they’ve gone.

I guess because there’s three of them, and there’s an upstairs and a downstairs, I think they do see me, and it feels like, because they saw me, then the scene shifts.

It’s like I had visited for awhile, and then I was going to be moving somewhere, or going on somewhere, but because I’d been seen then I suddenly see myself just forward in time a little bit, in this apartment with a man. And it feels like we have a small space and we have two or three little kids, and I’m spending a lot of time just trying to keep things picked up, and the things in the closet straight, because there’s not very much room with three little kids and two adults living in a small apartment.

And then it seems to shift into another dream where it’s like I’m traveling somewhere and I’ve stopped briefly at a small house. It kind of looks like a very western house, and there’s this Native American man there, and there’s a small group of us that were traveling. And we go sit around a table in his house and it’s like he’s going to read some kind of cards that tell people things. It’s not Tarot cards, but it’s some kind of similar cards that the Native Americans have that they can tell you things about yourself, or the future.

But I don’t want him to read my cards, and he doesn’t want to read my cards, either. We’re real leery of each other, so we’re kind of like almost trying to keep a distance from each other, but, in the process of getting up and moving around, it’s like I take a seat where I’m somewhat in front of some cards that have already been tossed down – so it’s almost like the cards themselves may show you something at this point, whether you want them to be read or not. And that was that dream.

And then there was one final little dream that I remember where I’m in a household, and we’re going to be going on, but it feels like either I or one of the people I’m with have something like a boil on their left leg. And it’s been partially picked at or something, and I know we’re going to have to move on, and I feel like somebody tried to lance it, but they didn’t do a good job of it, and I’m really annoyed because I want us to move on.

But I feel like they either should’ve left it alone, or they should’ve lanced it so it could heal up properly. Instead it’s like they’re trying to close it up when it’s only half drained, and I know that won’t really work. I mean that’s not what you do. I think that was when I woke up.

John: You’re describing scenario after scenario in which you’re finding yourself in a set condition, and in need of trying to cause that set condition to free up, or to be more fluid. Because the way the set condition is, it’s a composite, it’s an environmental composite which you’re not in sync with as a flow.

In other words, it starts off in which you can be with something like XX who has a set way that you have an idea of how to accommodate, in spite of its conditions, but you don’t really allow yourself to truly be seen, or take in, or take something in in that scenario, which means that there is something on a molecular level, or outer level, that you know to be out of sync, but you are not contending with it. You’re not properly dealing with it. You’re not listening to it. You’re not allowing yourself to come to grips with how that energetic actually is.

Every modality, or spatiality, that you find yourself in, is talking to you, in a reflective revelational way. And, in that scenario, there is something that is stifled. And so you change that stifling, you shape that stifling, so to speak, or shift that stifling into something that is also mundane, where you’re going through the motions of just living in life – and there’s no meaning in that, there’s no flow. There is still something that is pent up.

Again, it’s all about allowing something to come out into the open as a kind of free flow. Whatever it is that’s happening is out of sync, on a revelational level, with what needs to unfold. See, the outer world is… when you are affected by the thought-upon-thought molecular makeup and structure of things all around you, how the movement of that is, is actually revealing. It’s actually revelational. If you can let go of that and be free of that, there is something that can open up, otherwise it is shaped and depicts what you have designed for yourself.

And so the final image of the boil means you can’t sit in something that you know is untenable, especially when you know that it’s untenable and that there is something that you can do about it. In other words, that image had an answer to it. The other images did not have an answer to it. They all were images that had to do with maintaining some sort of stifled, shutting-down condition.

It’s as if the dream was about seeing something, but it was about how do you see something? In other words, there is a seeing something that has to do with sight, and it’s not about the seeing of that which has to do with sight. It’s about the seeing of something which has to do with a natural knowingness, and it’s a type of natural knowingness that has to do with a proper listening.

There was a reason why you didn’t want to be seen by these other three women that were in the equation. What was that? What was that reason? What is there about the sensation of that scenario that caused you to feel impinged? Because your idea of moving on wasn’t moving on because you were poisoned, or inflicted, by the tone, by some tone yet. In other words, you just shifted that vibration, into a parallel family setting, in which everything was mundane, as well. In other words, you didn’t break free of it. You couldn’t break free of it.

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a22spIt’s nice to think that we always face things head-on, with confidence. But, as we discover, not all parts of our nature have equal amounts of confidence. It’s true in waking life, and it’s true in our dreams. Here we find a woman on the run, hiding and being followed. Yet, since we are all the characters in our dreams, we can also see that there is also a wooing going on, as wary lovers try to find the best way to accommodate each other – so they may begin their future together. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I didn’t think I was going to be able to remember any dream from last night because I kept coughing; had a headache. But towards morning I had a dream and, in that dream, it feels like I’m a woman. I have some children. I’m living with a man, but I take the kids and I run away from him.

And I seem to go to something like a villa, somewhere in Italy, and the villa is kind of in a little village where they have all these white stone walls, stucco walls. And I’m hiding out there, and I seem to like it because it has good music.

There is a man there at the villa, but I can’t tell if I’m actually with him, or if I avoid him sometimes. It seems like I do both. And then there’s a woman who brings the man I had run away from to the villa, or the little village. Sometimes it’s like she helps me hide, and sometimes she helps him find where we are.

I also remember that there was a garden area with some marble steps and, at the top, there were these headstones that were partially made out of leather and alabaster. And they were the carvings that represented some famous lovers who had been buried there. I think they were performers of some kind, singers or something,

And you could kind of pull a little bit on the stone and it would come forward, and you could see the statue and the carvings. And then you pushed it back a bit and it tucked itself into the leather, which helped protect it from the elements.

I think three different statues there representing famous people that had been buried, one was this couple, and the other I don’t know who they were. And then it seems like I’m trying to keep a certain freedom, but I also have the kids there. It just wasn’t a real clear dream to me.

John: It wasn’t a real clear dream because you’re hiding from something that’s trying to break itself through. Even the headaches you have, that you pretend have something to do with dust and this, that, and the other, are actually the result of something trying to awaken, or come through. And you have these headaches as kind of a dense nature that you carry to try to keep things in check.

It seems that there really is something to this idea that a person who gets on a spiritual path gets to a particular point where physically they can break down, or start to suffer more. And, of course, a lot of it’s easily explained from the standpoint that they get more sensitive, or something, and they can’t eat like they normally eat, and require circumstances to be a little different.

And, in this particular case, in your particular case, your whole dream went into describing and portraying this whole quality that you have in which you are doing things that peek at, and yet somehow or another, work with, hold in some aspect of your nature, that which you protect.

In other words, you have these kids that you run away with, that are your kids. And then you have this peekaboo way that you deal with the masculine, with what you find there. But what you’re saying in that is that there is a setting in which what is important and necessary for something to come out, in terms of how it is that you need to be, well, that you’re sitting veiled in, yet you have your moments in which something comes out, and you do have a sense of what it is that has to be protected.

And then you take and you repeat that, in another way, where you see these statues or whatever and you realize that if moved forward they have one kind of dynamic; pushed back, left in a kind of staleness of the past, they have another look. And yet somehow or another you have a sense of the before, or of the timeless beyond.

And, the thing is, your dream, this dream that you were able to pull out, you weren’t able to pull out the other dreams before because the other dreams before would have involved you breaking through, confronting a physical dimension, that is there, because the subtle loudness behind the denseness of the physical dimension is something that is being kept in check yet by the outer quality of your nature.

It’s being kept in check for some reason because the time isn’t fully right, or ripe, for it to come out, apparently. Yet you have the peekaboo with it. And so, when you mentioned the headache, I immediately saw that this was correlated to something that inside of you that is trying to find its way. And the outer circumstances, the effect of the physical outer, is imposing this limitation.

The way that you work with that, or struggle with that, is causing you to slowly break through it – yet you don’t break through it as naturally as you could and, as a consequence, you have headaches and such. And, of course, almost in answer to a frustration, you have this dream.

And the dream portrays this little quality of, you might say, a scoping out that is occurring in a very steady and unfolding capacity. That’s interesting.

What a theme huh? Because the theme had to do with being able to recognize and identify a quality of a deeper innerness that’s at the depth of a person’s nature and being, even though outer appearances could easily, and tend to, suggest otherwise, because it’s the outer appearances that predominate, or appear to predominate, most of the time. Rarely is a person able to see through the outer appearances to denote what is trying to move around within.

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